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A SLIP-COVERED LOBED EWER, LIAO TO SONG DYNASTYChina, 907-1279. The body finely molded with six lobes, supported on a short splayed foot and rising to a slightly flared neck, the shoulder applied with a C-shaped handle and gently curved upright spout, covered in a layer of white slip below the transparent glaze, stopping short above the foot, revealing the gray-beige body.Provenance: Gallery Lam & Co., Hong Kong, 16 January 1999. Dr. Koos de Jong, acquired from the above. A copy of the original invoice accompanies this lot. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Excellent condition with minor wear and firing flaws, intentional crackling.Weight: 781.8 gDimensions: Height 19.3 cmLiterature comparison: Freedom of Clay and Brush through Seven Centuries in Northern China: Tz’u-chou Type Wares, 960-1600 A.D. (ed. Yutaka Mino), Indianapolis Museum of Art, Indianapolis 1981, p. 34, ill. 5. He Li, Chinese Ceramics, London 1996, p. 149, ill. 226. R. Krahl, Chinese Ceramics from the Meiyintang Collection, Vol. I, London 1994, no. 478, p. 261.Auction result comparison: Compare with a related, but later and significantly more elaborate Qingbai ewer, for which the form of the present lot served as an inspiration, at Christie’s Hong Kong, in Important Chinese Ceramics and Works of Art, on 9 July 2020, lot 2804, sold for HKD 2,125,000.遼至宋代執壺 中國，907-1279年。壺體呈六瓣，短圈足，頸部微縮，往上到壺口略外翻，肩部執柄彎曲，立噴嘴，在透明釉下覆蓋一層白化妝土，直至足上方，露出灰色胎。 來源：香港Gallery Lam & Co., 1999年1月 16日；Dr. Koos de Jong收藏，購於上述收藏（附原始發票）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：狀況極佳，有輕微磨損和燒制缺陷。 重量：781.8 g 尺寸：高19.3 厘米 拍賣結果比較：一件相近但更晚的青白罐，見香港佳士得Important Chinese Ceramics and Works of Art拍場，2020年7月9日lot 2804, 售價HKD 2,125,000.

A BROWN-GLAZED JAR, EARLY NORTHERN SONG DYNASTYChina, 10th-11th century. The tapering jar molded with five horizontally lobed sections, each applied with three evenly spaced beaker-shaped flanges, the top section also with three evenly spaced shallow knobs, covered with a brownish-black glaze, the base left unglazed revealing the sienna-buff body.Provenance: Ancient World Gallery, York, United Kingdom, 1 November 1996. Dr. Koos de Jong, acquired from the above. A copy of the original invoice accompanies this lot. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Very good condition with old wear and firing flaws, including glaze pooling and recesses, and pitting, occasional light scratches, minor nibbling.Weight: 1,332 gDimensions: Height 22.7 cmLiterature comparison: An almost identical jar is in the collection of the Keramiekmuseum Princessehof, Leeuwarden. See also Chinese Ceramics, Shanghai 1995, no. 376, p. 282.北宋早期褐色釉罐中國，十至十一世紀。罐成五節，每節都帶有三個均勻間隔的凸耳，頂部還帶有三個均勻間隔的淺旋鈕。罐上覆蓋著黑褐色釉，底部未上釉，露出了赭黃色胎。來源：英國約克郡Ancient World Gallery藝廊，1996年11月1日。Dr. Koos de Jong收藏，購於上述收藏（隨附發票副本）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam)品相：狀況良好，有舊磨損和燒制缺陷，點蝕，局部輕微划痕，輕微磕損。重量：1,332 克尺寸：高22.7 厘米

A CIZHOU CUT-GLAZED ‘FLORAL’ MEIPING, NORTHERN SONG DYNASTYChina, 960-1127. The sides rising from the flat base to a slightly waisted neck with lipped rim, decorated with flowers on scrolling leafy vines painted in brown glaze on the light gray-buff body.Provenance: Ancient Fine Art of China, Macao, 1999. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Old wear and firing flaws, minor chips and glaze losses, encrustations to base, glaze pooling and recesses, old repair to neck. All commensurate with age and exactly as expected on this type of ware.Weight: 765.1 gDimensions: Height 18 cmLiterature comparison: Chinese Ceramics, Shanghai 1995, no. 532, p. 326. Li Zhiyan et al., Chinese Ceramics, London-Beijing 2010, no. 6.64, p. 322.北宋磁州花卉紋梅瓶 中國，960-1127年。梅瓶小口，短頸，豐肩，瘦底，圈足，外壁化妝白地上施深棕色彩繪製花卉紋。 來源：澳門Ancient Fine Art of China藝廊，1999年。Dr. Koos de Jong收藏，購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片：Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：舊時磨損和燒制缺陷，較小的碎屑和釉料缺損，底足結垢，釉料積聚和凹陷，頸部的舊修復。 一切都與年齡相稱。重量：765.1 克 尺寸：高18 厘米

A SMALL LONGQUAN CELADON TRIPOD CENSER, MING DYNASTYChina, 1368-1644. Potted with rounded sides raised on a tall ring foot surrounded by three evenly spaced and short feet, covered with a finely crackled sea-green glaze, with unglazed centers on both the interior and the underside, both burnt orange in the firing.Provenance: Glade Antiques, Buckinghamshire, 10 June 2003. Dr. Koos de Jong, acquired from the above at Olympia Art & Antiques Fair in London. A copy of the original invoice accompanies this lot. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Very good condition with minor wear and firing flaws, such as dark spots, glaze flakes and recesses, and kiln grit, intentional crackling, minuscule nibbling here and there.Weight: 306.3 gDimensions: Diameter 14.2 cmLiterature comparison: Leandro and Cecilia Locsin, Oriental Ceramics discovered in the Philippines, Rutland, Vermont, and Tokyo 1967, nos. 63a-b, p. 79. Benjamin J. Stein, Longquan Celadons, Amsterdam 1982, no. 52, p. 71.Auction result comparison: Compare with a closely related censer at Christie’s New York in The Art of China on 21-29 March 2017, lot 100, sold for USD 2,000.明代小型龍泉青釉三足爐 中國，1368-1644年。三足爐厚胎，扁圓，環形足，爐體上覆蓋著海綠色釉，爐部和底面均無釉，露胎，在燒成過程中都燃燒成橙色。 來源：Buckinghamshire 的Glade Antiques藝廊, 2003年6月10 日。Dr. Koos de Jong在倫敦 Olympia Art & Antiques Fair博覽會購得。（隨附發票副本）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：狀況極佳，有輕微的磨損和燒制缺陷，例如黑斑，釉料開片和凹痕，以及窯砂，微小的碎屑。 重量：306.3 克 尺寸：直徑14.2 厘米 拍賣結果比較：一件相近三足爐見紐約佳士得The Art of China 拍場，2017年3月21-29日lot 100, 售價USD 2,000.

A WUCAI ‘HONEYSUCKLE’ DISH, YONGZHENG MARK AND PERIODChina, 1723-1735. The shallow rounded sides resting on a short foot. The interior delicately decorated in a wucai palette with stylized honeysuckles rendered in neatly arranged scrolls, all within an underglaze-blue double-circle repeated at the rim. The base inscribed in underglaze blue with the six-character reign mark da Qing Yongzheng nianzhi within a double-circle and of the period.Provenance: Robert Somerville Chinese Art, Chicago, 30 March 1956. The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above (invoice not available). Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. ‘My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,’ recalls Bridget Alsdorf, the couple’s granddaughter. Condition: Excellent condition with minor wear and firing irregularities, two minute nicks to foot rim, expected light wear to enamels, a near-invisible glaze line to the exterior (inspected under strong blue light).Weight: 302.0 gDimensions: Diameter 21.3 cmThe exterior decorated with stylized honeysuckles picked out in three different forms, the flowers alternating with six stylized foliate scrolls,Literature comparison: A similar dish was included in the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, National Palace Museum, Taipei, 1988, cat. no. 42.Auction result comparison: Compare with a closely related dish at Sotheby’s Hong Kong in Important Chinese Art on 6 April 2016, lot 3626, sold for HKD 300,000, and another at Sotheby’s Hong Kong in Marchant – Fifty Qing Imperial Porcelains on 11 July 2020, lot 3123, sold for HKD 275,000.雍正款和年代五彩忍冬紋盤 中國，1723-1735年。盤敞口，淺弧腹，下腹內斂，圈足。內外繪五彩忍冬紋，整體佈局規整，疏密有致，勾畫精細，色彩艷麗，寓意吉祥。圈足内青花雙圈六字款“大清雍正年制”。 來源：芝加哥Robert Somerville 中國藝術藝廊, 1956年3月30日。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述藝廊，發票已遺失。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。”圖片: James and Marilynn Alsdorf 1950年在邁阿密 品相：狀況極佳，有輕微磨損和燒制不規則現象，足部邊緣有兩処小刻痕，釉面會有輕微磨損，外壁釉面裂線幾乎看不見（在強藍光下檢查）。 重量：302.0克 尺寸：直徑21.3厘米 繪畫細膩工整，色彩艷麗，為清代官窯經典紋飾之一。忍冬紋，因為忍冬這種植物越冬而不死，所以被大量運用於佛教題材裝飾上，比作人的靈魂不滅、輪迴永生，後繪於官窯瓷器之上，被賦予多福多壽，長壽萬年之吉祥寓意。 文獻比較: 一件相近的盤子曾在臺北故宮博物院特展K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty ce Museum展出，臺北故宮博物院, 臺北, cat. no. 42. 拍賣結果比較：一件相似的盤子售于香港蘇富比 Important Chinese Art 拍場2016年4月 6日，lot 3626, 售價HKD 300,000；另一件售于香港蘇富比 Marchant – Fifty Qing Imperial Porcelains 拍場2020年7月 11日，lot 3123, 售價HKD 275,000。

A ‘GUAN’ TRIPOD CENSER WITH TRIGRAM DECORATIONS, QINGChina, 18th-19th century. Of compressed globular form, the shallow sides with raised trigram decorations rising to an everted and incurved rim, set to either side with a pair of upright square loop handles, all supported on three short tapering feet.Provenance: French private collection, acquired from Chayette & Cheval, Paris, on 13 May 2005. A copy of the invoice accompanies this lot.Condition: Very good condition with minor wear and firing flaws, old crack to rim with associated glaze loss to the interior, small glaze nicks to one handle.Weight: 616.7 gDimensions: Height 10 cm, Diameter 14.5 cmCovered overall in an opaque gray glaze with darker shadings around the edges and suffused with a network of dark gray and golden crackles in simulating 'iron wire' and 'gold thread'.In its glazing and form, the present incense burner vessel was made to imitate one of the most celebrated official wares of the Song dynasty, Guan, made for the Imperial court in the capital Hangzhou. Several Guan pieces, conserved in the Imperial collection for half a millennium, inspired the Yongzheng and Qianlong emperors, both of whom were ardent admirers of Song dynasty ceramics, to commission modern versions of these wares in the 18th century.Literature comparison: An 18th century crackle-glazed tripod censer with a lengthy Qianlong imperial inscription is illustrated in Obtaining Refined Enjoyment, The Qianlong Emperor's Taste in Ceramics, National Palace Museum, Taipei, 2011, no. 67.Auction result comparison: A related, Guan-inspired censer from the Qing dynasty, of slightly larger size was sold by Sotheby’s New York in Chinese Art Through the Eye of Sakamoto Goro – Ceramics on 17 March 2015, lot 44, for USD 150,000.清代官窯式八卦三足爐 中國，十八至十九世紀。三足爐呈球狀，爐身表面有凸起的八卦紋裝飾，兩側均有一只直立的方形環手柄，三足短且成錐形。 來源：法國私人收藏，購於巴黎Chayette & Cheval, 2005年5月13日。隨附發票複印件。 品相：狀況極佳，有輕微磨損和燒制缺陷，舊裂紋到圈足，爐內失去釉質，一個手柄上有釉面小磕損。 重量：616.7 克 尺寸：高 10 厘米, 直徑 14.5 厘米 拍賣結果比較：一件清代官窯式香爐，尺寸稍大，售于紐約蘇富比 Chinese Art Through the Eye of Sakamoto Goro – Ceramics 拍場，2015年3月17日，拍號44, 售價USD 150,000.

A COPPER-RED AND SACRIFICIAL-BLUE SPLASHED YEN YEN VASE, LATER QING TO REPUBLICChina, 1840-1920. The baluster-shaped porcelain body rising from a spreading foot to a tall trumpet neck with a circumferential groove above the shoulder, covered overall in a finely crackled aubergine glaze with splashes of copper red and sacrificial blue.Provenance: French private collection. With an old collector’s note, reading, ‘celadon, crackled, flamed, more than 100 years old’ [translated from French], probably written 50 years ago or more. Condition: Excellent condition with old wear and some firing irregularities and minor pitting, expected glaze losses to foot rim, intentional crackling to glaze.Weight: 6.4 kgDimensions: Height 53 cmExpert’s note: While the form of the vase is the traditional phoenix-tail (yen yen), the skillfully executed glaze is of a far more modern nature, reminiscent of the Art Deco, making a late 19th to early 20th century dating of this piece quite likely.清末民初藍紅斑鳳尾尊 中國，1840-1920年。鳳尾尊削肩，長頸，翻口，整體覆蓋著細裂紋的茄子色釉，上面撒有銅紅色和藍色斑。 來源： 法國私人收藏。老藏家標注‘celadon, crackled, flamed, more than 100 years old’ [法譯英], 可能是寫於50年前或更早。 品相：狀況良好，有舊磨損，有一些燒製瑕疵和輕微的點蝕，足沿処有釉面缺損，有意釉面開片。 重量： 6.4 公斤 尺寸： 高 53 厘米

A GILT BRONZE MODEL OF A SILKWORM, HAN DYNASTYChina, 202 BC to 220 AD. The articulated silkworm, consisting of eight segments in total, lifting its head and showing a smile.Provenance: Solaimani Gallery, Fine Islamic & Oriental Art, Grays Antique Center, London. Dr. Koos de Jong, acquired from the above in 2002 (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, with extensive wear, losses, nicks, and scratches. Fine natural malachite green and copper red encrustations.Weight: 13.4 gDimensions: Length 5 cmThe worship of the silkworm can be traced to the Shang Dynasty (c. 1600-1027 BC), when it was common to make human sacrifices during the silkworm ceremony. Representations of the silkworm are associated with the domestication, rearing of the silkworm, and the all-important silk weaving industry which was part of the essential economy of China. From the 3rd century AD, the spirit of the silkworm was personified by the Empress Xiling and worshiped in a special ceremony officiated by the Empress herself every year during the second half of the lunar month, with offerings of mulberry leaves and woven silk at a special altar set up in the silkworm temple or palace.Literature comparison: See examples in the Minneapolis Museum of Art; Gift of Ruth and Bruce Dayton 96.55.1; J.J. Lally & Co., Chinese Works of Art May 27-June 18, 1998, no. 21. Compare also with a closely related model shown in Ben Janssens Oriental Art, London 2008, page 47.Auction result comparison: Compare with a related model of a silkworm (7.4 cm long) at Bonhams New York in Elegant Embellishments on 21 September 2020, lot 301, sold for USD 12,575.漢代銅鎏金蠶 中國，公元前202至公元后220年。鉸接的蠶總共由八個部分組成，抬起頭似乎露出微笑。 來源：倫敦Solaimani Gallery, Fine Islamic & Oriental Art, Grays Antique Center藝廊。Dr. Koos de Jong收藏，2002年購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：良好的原始狀態，大面積磨損，划痕和刻痕。 天然孔雀石綠和銅紅包漿。 重量：13.4 克 尺寸：長5 厘米 拍賣結果比較：一隻相近蠶 (長7.4 厘米) 見紐約邦翰斯Elegant Embellishments 拍場，2020年9月21日，lot 301, 售價USD 12,575.

AN ORDOS GILT BRONZE ‘COPULATING TIGERS’ PLAQUE, WARRING STATESChina, Inner Mongolia, Ordos, 5th-3rd century BC. The plaque cast in openwork with two tigers copulating, one mounting the other from behind, with pierced eyes, ears, and paws.Provenance: Grays Antique Center, London, 1999. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, remarkable considering the age of this plaque! Some wear, minuscule nicks, and scratches. Originally with inlays, which are missing.Weight: 5.1 gDimensions: Length 3.1 cmAccording to E.C. Bunker (see reference below): “Copulating animals occur on artifacts belonging to the non-Chinese peoples that inhabited northern China and Inner Mongolia, particularly areas where hunting was a major element in the local economy. The animals, which include leopards, wild pigs, and deer, are always wild, not domesticated.”Literature comparison: E.C. Bunker, Ancient Bronzes of the Eastern Eurasian Steppes from the Arthur M. Sackler Collections, New York 1997, p. 166, no. 71.Auction result comparison: Compare with a related but significantly larger plaque at Christie’s Paris in Arts d’Asie on 26 November 2002, lot 224, sold for EUR 5,875.戰國鄂爾多斯銅鎏金虎交媾形飾 中國，内蒙古鄂爾多斯，公元前五至三世紀。鏤空的配飾上有兩隻老虎交配，眼睛，耳朵和爪子清晰可辨。 來源：Grays Antique Center, London, 1999. Dr. Koos de Jong收藏，購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：考慮到其年代，實屬良好的原始狀態。一些磨損，微小的划痕和刻痕。 最初有鑲嵌，但已丟失。 重量：5.1 克 尺寸：長3.1 厘米 拍賣結果比較：一件相近但更大的銅牌見巴黎佳士得Arts d’Asie拍場，2002年11月26日lot 224, 售價EUR 5,875.

AN ORDOS BRONZE ‘RECUMBENT STAG’ PLAQUE, WARRING STATESChina, Inner Mongolia, Ordos, 5th-3rd century BC. Cast as a recumbent stag, with the front and hind legs tucked under the body, the head turned upwards, the antlers in the form of three loops, the reverse set with a loop for attachment.Provenance: Grays Antique Center, London, 1999. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, remarkable considering the age of this plaque! Some wear, minuscule nicks, and scratches. Some malachite-green encrustations to the reverse in the recesses. Originally with inlays, which are missing.Weight: 5.4 gDimensions: Length 2.9 cmLiterature comparison: Similar plaques cast in bronze were found in a number of Ordos tombs in Hebei province and Inner Mongolia, illustrated in Zhongguo qingtong qi quanji, vol. 15, Beijing, 1995, pls. 150, 152- 153, and Erduosi shi qingtong qi, Beijing, 1986, p. 173, fig. 121 and pl. 88:1-5. Another set of twenty almost identical plaques is in the collection of Leon Levy and Shelby White, illustrated in Jenny F. So and Emma C. Bunker, Traders and Raiders on China's Northern Frontier, Washington D.C., 1995, cat. no. 83. E. C. Bunker, James C.Y Watt and Zhixin Sun, Nomadic Art of the Eastern Eurasian Steppes, The Metropolitan Museum of Art, New York 2002, no. 135, p. 158Auction result comparison: Compare with a lot of four closely related stag plaques, of near-identical design but crafted from gold, at Sotheby’s London in Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares on 14 May 2008, lot 2, sold for GBP 20,900.戰國鄂爾多斯青銅鹿形配飾 中國，内蒙古鄂爾多斯，公元前五至三世紀。斜躺的雄鹿，將前腿和後腿塞在身體下方，頭部向上轉動，鹿角呈三個環的形式，反向設置有一個環以固定。 來源：Grays Antique Center, London, 1999. Dr. Koos de Jong收藏，購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：考慮到其年代，為良好的原始狀態。一些磨損，微小的划痕和刻痕。局部有銅綠。最初有鑲嵌，但已丟失。 重量：5.4 克 尺寸：長2.9 厘米 拍賣結果比較：一件相近的佩飾，幾乎相同的形狀但材料為金，見倫敦蘇富比Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares 拍場，2008年5月14日lot 2, 售價GBP 20,900.

AN OPENWORK BRONZE ‘HORSE RIDER’ BADGE, TANG DYNASTYNorthwest China, 7th-9th century. Depicting a male figure on horseback, the horse with finely incised mane and neatly positioned legs.Provenance: Paropamiso, Venice, 2010. Dr. Koos de Jong, acquired from the above. A copy of the original invoice accompanies this lot. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good condition with old wear, encrustations in the recesses, small dents and losses.Weight: 11.9 gDimensions: Height 4 cm, Width 3.5 cm唐代青銅騎士紋徽章 中國西北部, 公元七至九世紀。馬背上一個男性形象，鬃毛細切，腿部整齊。 來源：Paropamiso, Venice, 2010. Dr. Koos de Jong收藏，購於上述收藏（隨附發票副本）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：狀況良好，有舊磨損，凹槽內結垢，小凹痕和缺損。 重量：11.9 克 尺寸：高4 厘米, 寬3.5 厘米

A RARE GILT BRONZE ‘RECUMBENT HOUND’ WEIGHT, MING OR EARLY QINGChina, 1368-1700, most likely early 15th century. Shown with head raised and turned slightly to the right, with fine incision work detailing the hair on the neck, spine, tail, and legs. The small hound shows a calm, obedient expression with large eyes and both the tail and ears lowered, the legs elegantly placed on the underside.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. ‘My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,’ recalls Bridget Alsdorf, the couple’s granddaughter.Published: The Arts Club of Chicago, Chinese Art from the Collection of James W. and Marilynn Alsdorf, Chicago, 1970, B35, exhibited between 21 September and 13 November 1970.Condition: Good condition with wear to gilt and some minor surface scratches, few minuscule nicks, the right front paw with old repair, malachite-green encrustations here and there. Attractive natural patina.Weight: 151.7 gDimensions: Length 6 cmThis bronze weight is exceptional for the extraordinary quality of its gilding and the fine details. The animal’s relaxed pose is rendered in a highly naturalistic manner, in contrast to its exaggerated bulging eyes.Paperweights of this type originate from bronze mat weights made in the Western Han dynasty, although their popularity increased in the Tang period when bronze and jade versions were made in relatively large numbers. Small animal sculptures such as the present were made from the early Ming dynasty, due to a renewed interest in bronze wares for the scholar’s desk during the Xuande reign. Examples from this period, however, are very rare, and no other paperweight of this form and design appears to have been published.Expert’s note: While bronze weights of this type were produced well into the Qing dynasty, the style and quality of casting and carving as well as the exceptional gilding clearly indicate an early fifteenth century date.Auction result comparison: Compare with a related bronze weight depicting a mythical beast offered by Sotheby’s New York in Important Chinese Art on 20 March 2019, lot 550, bought-in at an estimate of USD 60,000-80,000, and a gilt-bronze paperweight depicting a hound and bird offered by Sotheby’s Hong Kong in Scholarly Works from the Mary and George Block Collection on 23 October 2005, lot 63, bought-in at an estimate of HKD 350,000-400,000.明或清初罕見鎏金銅臥犬鎮紙 中國，1368-1700，更可能是十五世紀初。如圖所示，犬首抬起並稍微向右轉，頸部、脊柱、尾巴和腿部毛髮表現細緻生動。小獵犬神情鎮定，大眼睛、尾巴和耳朵低垂，腿優雅地放在了下側。 來源：美國芝加哥James and Marilynn Alsdorf 收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。” 圖片：James and Marilynn Alsdorf，攝於1950邁阿密 出版: The Arts Club of Chicago, Chinese Art from the Collection of James W. and Marilynn Alsdorf, Chicago, 1970, B35, exhibited between 21 September and 13 November 1970. 品相：狀況良好，鎏金磨損，一些輕微的表面划痕，極少的微小划痕，右前爪舊時經過修復，多處銅綠色結殼，天然銅綠包漿。 重量：151.7 克 尺寸：長6 厘米 專家注釋：這種類型的鎏金銅鎮紙在清代就很流行了，但其鑄造和雕刻的風格與質量以及出色的鍍金清楚地表明了十五世紀初風格特徵。 拍賣結果比較：一件相近的青銅獸形鎮紙曾見於紐約蘇富比Important Chinese Art拍場，2019年3月20日，lot 550, 估價USD 60,000-80,000；另一件鎏金銅犬與鳥的鎮紙見於香港蘇富比Scholarly Works from the Mary and George Block Collection拍場，2005年10月23日，lot 63，估價HKD 350,000-400,000.

A GILT BRONZE WINE VESSEL, BIANHU, HAN DYNASTYChina, 206 BC to AD 220. The flattened oval body raised on a spreading rectangular foot and incised on each broad side with four deer-like mythical beasts around a central cross-shaped ruyi symbol, the narrow sides incised with geometric designs interrupted by a pair of taotie mask and loose ring handles, the waisted neck incised with a band of stiff leaves.Provenance: Austrian private collection. Galerie Zacke, 3 June 2004. Dr. Mons Fischer, acquired from the above. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria. A copy of the original receipt from Galerie Zacke and an expertise written and signed by Mag. Ludwig Widauer, ruling out recent manufacture of this piece, accompany this lot.Condition: Good condition, commensurate with age, extensive wear, soiling, malachite-green encrustations, scratches, minuscule nicks here and there.Weight: 487.2 gDimensions: Height 13.2 cm, Width 14.2 cmThe bianhu was an innovation of the Eastern Zhou, introduced around 400 BC, with production continuing into the Han dynasty.Literature comparison: A related but larger gilt bianhu is illustrated by C. Deydier, The Art of the Warring States and Han Periods, London, 1991, pp. 86-7, no. 25, while a smaller version, no. 19, has a similar incised decoration. Another bianhu of similar shape, without cover, and with a plain body that may be gilt, is illustrated in Chugoku Sengoku jidai no bijutsu (The Art of the Warring States Period), Osaka Municipal Museum of Fine Art, 1991, p. 55, no. 49.Auction result comparison: Compare with a related but larger gilt bronze bianhu at Christie’s New York in Fine Chinese Ceramics, Jades and Works of Art on 19 September 2007, lot 214, sold for USD 37,000.漢代鎏金扁壺中國, 公元前206 至公元 220年。扁圓形，直筒頸，口外撇。肩部有對稱的銜環，底為長方形足。扁壺每面各有鹿般神獸圖案，中心如意交錯紋。頸部仿古葉狀蟬紋。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2004年6月3日。 Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。隨附Zacke 藝廊發票副本以及Ludwig Wildauer 先生寫的相關説明。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，與年齡相稱，廣泛磨損，污跡，銅綠結殼，划痕，到處都是微小的缺口。 重量： 487.2 克 尺寸：高13.2 厘米, 寬 14.2 厘米 拍賣結果比較：一件相近但更大且鎏金扁壺見紐約佳士得Fine Chinese Ceramics, Jades and Works of Art 拍場2007年9月19日 lot 214, 售價USD 37,000.

A ROCK CRYSTAL MASK OF A CROWNED BHAIRAVA, 18TH CENTURYNepal. The face with a fierce expression and large bulging eyes, flaming eyebrows below the third eye. The mouth open to reveal sharp fangs and teeth, all below a broad nose, flanked by long earlobes. Wearing a foliate tiara centered by a floral design.Provenance: The Josette and Theo Schulmann Collection, Paris, France. Acquired c. 1960-1970. Josette and Theo Schulmann were passionate dealers of Asian Art and have donated several important works to the Cernuschi Museum.Condition: Excellent condition with old wear, occasional light scratches, the stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Mounted on a modern plexiglass base. (2)Weight: 242.4 g (total)Dimensions: Height 13.2 cm (incl. base) and 7.5 cm (excl. base)十八世紀水晶加冕陪臚面具 尼泊爾，臉部表情凶悍，眼睛大鼓脹，天眼下方的眉毛成火焰狀，嘴巴張開，露出尖銳的獠牙，寬闊的鼻子，兩側是長耳垂。 佩戴以花卉紋為中心的葉狀頭飾。 來源： 法國巴黎Josette and Theo Schulmann 收藏。大約購於 1960-1970年間。Josette and Theo Schulmann 曾是熱情的亞洲藝術商與Cernuschi Museum 衆多重要藝術品的捐助者。 圖片: Josette Schulmann, Theo Schulmann 品相：狀況良好，有舊磨損，偶爾有輕微划痕，石料帶有天然內沁和裂縫，隨著時間的流逝，其中一些可能會發展成細小的裂縫。現代有機玻璃底座。 重量：縂242.4 克 尺寸：縂高 13.2 厘米，面具7.5 厘米

A CARVED OPENWORK ROCK CRYSTAL MASK OF BHAIRAVA, 18TH-19TH CENTURYNepal. The wrathful deity’s fierce face with round bulging eyes, thick furrowed brows below the third eye, a broad nose with prominent nostrils, and the mouth wide open baring sharp teeth. The stone of good quality with some natural inclusions.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Excellent condition with minor wear, few light scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small natural cracks over time.Weight: 397.3 g (the mask only)Dimensions: Size 11 x 9.3 cm (the mask only)With a modern stand. (2)十八至十九世紀水晶雕刻陪臚頭像 尼泊爾。怒相神眼睛圓鼓，天眼下眉毛濃密，鼻子寬闊，鼻孔突出，鋒利的牙齒。 具有一些天然内含物的透明水晶。來源：原 Zelnik István Southeast Asian Gold Museum收藏。比利時Institutional art collection 購於上述美術館。István Zelnik博士是匈牙利South and Southeast Asian Research Institute（東南亞）研究所主席主席，曾是匈牙利高級外交官，他在東南亞工作了幾十年，建立了歐洲最大的亞洲藝術品私人收藏。 圖片：István Zelnik 博士 品相：狀況極佳，磨損小，划痕微乎其微，水晶有自然裂縫，隨著時間的流逝，其中一些可能會演變成小的裂縫。 重量： 頭像397.3 尺寸：面具11 x 9.3 厘米 現代底座。(2)

A SINO-TIBETAN BLACK STONE FIGURE OF PANJARANATA MAHAKALA, 17TH CENTURYStanding on the body of a male deity on a lotus throne, holding a crescent knife (Kartika) and skullcap (Kapala) in his hands, a trident secured in his left arm, wearing a tiger’s skin as well as a garland of severed heads around the shoulders.Provenance: German private collection, by repute acquired before 2005 and thence by descent in the same family to the present owner.Condition: Excellent condition with minor wear, traces of pigment, small nicks here and there.Weight: 4,299 g (incl. stand)Dimensions: Height 28.8 cm (incl. stand) and 26 cm (excl. stand)Mounted on a modern metal stand. (2)The face showing a fierce expression with large bulging eyes and furrowed brows under the urna, the flaming hair behind a foliate tiara.Panjaranata Mahakala is the protector of the Shri Hevajra cycle of Tantras. The iconography and rituals are found in the 18th chapter of the Vajra Panjara Tantra (canopy, or pavilion), a Sanskrit language text from India, and an exclusive 'explanatory tantra' to the Hevajra Tantra itself. It is from the name of this tantra that this specific form of Mahakala is known.Literature comparison: For a related figure, see Himalayan Art Resources item no. 13386.Auction result comparison: Compare with a very small (7 cm high) related figure at Christie’s Paris in Art d’Asie on 12 December 2018, lot 64, sold for EUR 10,625, and another smaller (11.1 cm high) related figure dated to the 14th century at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art, 15 March 2017, lot 207, bought-in at an estimate of USD 20,000-30,000.十七世紀漢藏黑石大黑天像 漢藏，十七世紀。大黑天站在蓮花寶座上，手裡拿著月牙刀和嘎巴拉碗，左臂環抱三叉戟，披著老虎膚，光背四周裝飾花卉紋。 來源：德國私人收藏，據説購於2005年之前，自此保存在同一家族直至現任藏家。 品相：狀況極佳，有輕微磨損，色素痕跡，到處有小刻痕。 重量：縂4,299 克 尺寸：縂高28.8厘米，不含底座26 厘米 現代金屬底座。 拍賣結果比較：一個相近但非常小（高僅7厘米）的雕像，於 2018年12月12日巴黎佳士得Art d’Asie拍賣會，拍號64，成交價EUR 10,625。另一個14世紀但尺寸較小（高11.1厘米）的雕像 ，於2017年3月15日在紐約蘇富比Indian, Himalayan & Southeast Asian Works of Art 拍賣會上，拍號207，估價USD 20,000-30,000。

A DARK GRAY STONE HEAD OF BUDDHA, NORTHERN QI - TANG DYNASTYChina, 550-907. The round, full face with a serene expression, carved with half-closed, willow-leaf shaped eyes beneath a subtle brow extending from the bridge of the narrow nose. The crisp undulating lips forming a gentle smile above the fleshy chin, all flanked by long ears, the hair carved as distinct raised whorls.Provenance: An American private collection from the east coast. Old inventory number ‘1987.135’ to the underside, indicating a prior museum deaccession.Condition: There are significant areas of weathering, which have developed into considerable erosion, covered with areas of old fillings and various residues. Structural cracks, losses and dents, commensurate with age.Weight: 13.4 kg (excl. stand) Dimensions: Height 25 cm (excl. base)Mounted on a fine modern lacquered wood stand. (2)Expert’s note: The subtle fleshiness of the cheeks, thin nose ridge, and elegant curve of the eyebrows and eyelids are characteristic of sculpture produced in Shandong province, in northeast China, during the second half of the sixth century. Given the fact that this style has been continued over centuries, a dating up to the end of the Tang dynasty seems reasonable.Literature comparison: Compare with a related limestone head in the collection of the Metropolitan Museum of Art, accession number 2001.422.Auction result comparison: Compare with a related limestone head of slightly smaller size at Bonhams New York, Fine Chinese Paintings and Works of Art, 21 July 2020, lot 113, sold for USD 13,825.北齊至唐代石佛頭中國，550-907年。圓臉，表情寧靜，半閉的柳葉形眼睛，狹窄的鼻樑，柳葉形眉。笑容慈祥，側面長耳垂，螺髻。 來源：美國東海岸私人收藏。底部收藏老標簽 ‘1987.135’，意旨該佛頭之前為博物館收藏。 品相：很大的風化區域，已發展成嚴重的侵蝕，覆蓋著舊填料和各種殘留物。結構裂縫，缺損和凹痕，與年齡相稱。 重量：不含底座13.4公斤 尺寸：不含底座高25 厘米 現代木底座。 專家注釋：臉頰豐滿，細鼻樑，眉毛和眼瞼的曲線優美，是六世紀下半葉在中國山東省造像的特徵。儘管這個風格持續了多個世紀，斷代唐朝末期仍屬合理。 拍賣結果比較：一件相近石灰石但尺寸略小的佛頭像，見紐約邦翰思Fine Chinese Paintings and Works of Art拍場，2020年7月21日lot 113, 售價USD 13,825.

A SANDSTONE HEAD OF A LUOHAN, MING DYNASTYChina, 14th-15th century. Expressively carved with a broad smile and deep-cut lines, beneath a short broad nose and narrow squinting eyes, all between large pendulous ears.Provenance: French private collection. Condition: Good condition commensurate with age, extensive wear, natural weathering, losses.Weight: 6.8 kg (excl. stand)Dimensions: Height 26 cm (incl. stand) and 20 cm (excl. stand)With a modern metal stand. (2)Animated sculptures of luohans such as the present lot are extremely rare, most examples being straightforward and somewhat idealized renditions. This head most probably originates from Sichuan Province, which has a long tradition of depicting lively, caricature-like effigies of humans, as is evident in some of its pottery figures of entertainers, such as a figure of the grimacing drummer in the Sichuan Provincial Museum, see R. Bagley, Ancient Sichuan: Treasures from a Lost Civilization, Seattle, 2001, p. 298, no. 111.A more naturalistic trend in sculpture was initiated by Song dynasty sculptors, who also often depicted human figures with animated, expressive faces. This trend continued into the subsequent Yuan and Ming dynasties. Two sandstone sculptures of arhats, one with a tiger, the other with a dragon, were discovered in 1980 at the Boshan Temple site in Fu county, Shaanxi Province, see H. Rogers, China 5000 Years: Innovation and Transformation in the Arts, New York, 1998, no. 177.Auction result comparison: Compare with a closely related red sandstone head of a smiling luohan at Bonhams London in Fine Chinese Art on 7 November 2019, lot 55, sold for GBP 8,812.明代砂岩羅漢頭像 中國，十四至十五世紀。雙耳寬大，短短的鼻子，眼睛微垂，慈祥的笑容，額間和臉上有細紋，表情豐富。 來源：法國私人收藏 品相：狀況良好，與年代相符，磨損嚴重，自然風化，缺損。 重量：不含底座6.8 公斤 尺寸：縂高26 厘米，不含底座20 厘米 現代金屬底座。 拍賣結果比較：一件相近的紅砂岩羅漢頭像售于倫敦邦翰思Fine Chinese Art 拍場，2019年11月7日，lot 55, 售價GBP 8,812。

AN AQUAMARINE GREEN GLASS BI DISK, HAN DYNASTYChina, 202 BC to 220 AD. Of circular form, the glass of a deep turquoise to aquamarine green tone.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance, signed by Dr. István Zelnik, will be handed to the winning bidder). The István Zelnik Southeast Asian Gold Museum, acquired from the above. An institutional art collection in Belgium, acquired from the above. Bao Dai was the 13th and final Emperor of the Nguyen dynasty, the last Imperial dynasty of Vietnam. From 1926 to 1945, he was Emperor of Annam. After his abdication in 1945, he remained an important advisor to the new government under Ho Chi Minh but left for France in 1946, until he was persuaded by the French to return as head of state in 1949. He moved back to France in 1954 after the peace deal between the French and the Viet Minh, appointing Ngo Dinh Diem as his prime minister. After being removed from power by Diem in a referendum in 1955, he spent the remainder of his life in exile in France.Condition: Good condition commensurate with age, with extensive wear, several small chips and fine cracks, some open bubbles and pitting.Weight: 322.6 g (excl. stand)Dimensions: Diameter 14.3 cmWith a modern stand and an old velvet box. (3)Literature comparison: Compare with a related glass disk in the collection of the Metropolitan Museum of Art, accession number 2006.404.漢代玻璃璧 中國，公元前202 BC 至公元 220 年。呈圓形，玻璃深綠色漸進到翠綠色。來源：原越南阮朝最後一位皇帝阮福永瑞收藏 (根據來源信件，由 Dr. István Zelnik簽名，將會交給獲得此藏品的藏家) 。The István Zelnik Southeast Asian Gold Museum, 購於上述收藏。一個比利時藝術收藏機構購於上述美術館。阮福永瑞，即保大帝，是越南最後的皇朝阮朝第十三位也是最後一位皇帝。從1926年到1945年，他是安南皇帝。 自1945年退位後，他一直是胡志明領導下的新政府的重要顧問，但於1946年前往法國，直到法國說服他在1949年返回越南成爲臨時國家元首。1954年，他移居法國。1955年，在首相吳廷琰私下操縱的公民投票中，越南的君主制被廢除，保大帝隨後流亡法國直至逝世。圖片：保大帝 (1913-1997) 品相：良好的狀態與年齡相稱，大面積磨損，一些小碎屑和細裂紋，一些開放的氣泡和點蝕。重量：322.6 克 (不含底座) 尺寸：直徑14.3 厘米 現代底座和舊絲絨盒

A BRONZE FRAGMENT OF RATNASAMBHAVA, 14th CENTURYWestern Tibet. Richly adorned in jewelry, the face showing a serene expression with full lips forming a subtle smile, a straight nose, and heavy-lidded almond-shaped eyes centered by a raised urna. Flanked by large hoop earrings, the wavy locks of hair pulled into a high chignon and secured with a tall tiara, several plaid locks elegantly falling over the shoulders.Provenance: French private collection.Condition: Good condition commensurate with age, extensive wear and losses, some minor scratching and small nicks here and there.Weight: 513.1 g (excl. stand)Dimensions: Height 17.5 cm (excl. stand)Ratnasambhava, literally the Jewel-Born, is one of the Five Dhyani Buddhas, also known as the Buddhas of the Five Directions. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality. In Vajrayana Buddhist thought, he is associated with the attempt to destroy greed and pride. His consort is Mamaki and his mount is a horse or a pair of lions.With a modern stand. (2)Auction result comparison: Compare with a related but complete bronze figure of Ratnasambhava, sold by Christie’s New York in Indian and Southeast Asian Art on 23 March 2010, lot 222, for USD 56,250.十四世紀寶生佛銅像碎片 西藏。飾有華麗珠寶，面部表情寧靜，豐滿的嘴唇形成微妙的笑容，筆直的鼻子，濃密的杏仁狀眼睛，高挺的鼻子居中。大圈形耳環，波浪形的捲髮，用高高的頭飾固定，優雅地落在肩上。 來源：法國私人收藏. 品相：狀況良好，大面積磨損和缺損，一些輕微的刮擦和局部小缺口相稱。 重量：不含底座513.1 克 尺寸：不含底座高 17.5 厘米 現代底座。 拍賣結果比較：比較一件相近但完整的寶生佛銅像，於紐約佳士得2010年3月23日Indian and Southeast Asian Art拍場，拍號222, 售價 USD 56,250。

AN IMPORTANT WHITE MARBLE STELE OF BUDDHA, MAUDGALYAYANA AND SARIPUTRA, NORTHERN QIChina, 550-577. Carved from a single piece of marble, the central figure of Buddha is seated in dhyanasana on a throne supported on two chilong, his left hand held in abhayamudra, the face in a serene, meditative expression with downcast eyes and a benign smile.Provenance: Collection of Colonel Paul Kuhlo (1866-1943) and thence by descent in the same family. A noted German private collection, acquired from the above. Colonel Paul Kuhlo was the Commander of the Imperial German East Asian Marine Detachment and a Japanese prisoner of war from 1914 to 1919. During the sunset of his life, he collected Chinese and Japanese stamps, Asian antiques, and transcribed parts of his hand-written diary.Condition: Good condition commensurate with age, extensive wear, weathering, age cracks, losses, one horizontal crack with old filling.Dimensions: Height 62 cm, Width 42 cm, Depth 11 cmWith a modern display stand. (2)Buddha is flanked by two Avalokiteshvara, followed by his two main disciples, Maudgalyayana and Sariputra, and two Guanyin, the latter four standing on lotus pedestals borne on vines issuing from the chilongs’ mouths. The upper section is carved with two bodhi trees, while the lower section shows a boshan lu (hill censer) flanked by two Buddhist lions.The Northern Qi dynasty (550-577) was one of the most vibrant periods in the history of Chinese art, both religious and secular, as its openness towards foreigners, their ideas, beliefs, and goods immensely enriched the local cultural climate. It was within this cosmopolitan climate that Buddhist sculpture experienced perhaps its most glorious moment. While in the Northern Wei dynasty (386-534), manners of depiction were adapted from traditional South and Central Asian prototypes, in the Northern Qi they had matured and developed into distinctive native styles. However, they still emanate the seriousness of strong religious beliefs, which were rooted in the political instability of the mid-sixth century and had not yet moved towards the pleasant and more decorative imagery of the Tang dynasty (618-907).The present stele is carved in the simplified style of carving in white marble found in Quyang, Hebei province, and is particularly notable for the sensitively carved face of the main figure. The disciples and bodhisattvas are carved in shallower relief and with even more restraint in detailing, creating a sense of harmony and veneration.The Palace Museum, Beijing, holds 251 pieces of similarly carved sculpture from Xiude Temple in Quyang which was excavated in 1953-54. Of these Xiude Temple figures, more than 100 are inscribed with Northern Qi reign names, but not all of them.Auction result comparison: Compare with a considerably smaller stele dated by inscription to the year 540 at Christie’s New York in Treasures of the Noble Path: Early Buddhist Art from Japanese Collections on 14 September 2017, lot 806, sold for USD 68,750, and a considerably larger stele dated to the Tang dynasty at Christie’s London in Fine Chinese Ceramics and Works of Art on 55 November 2013, lot 386, sold for GBP 98,500.北齊重要大理石雕釋迦佛目犍連與舍利弗 中國, 550-577年。釋迦佛由一塊大理石雕刻而成，他成迦趺座坐在寶座上，手施無畏印，臉部表情沉靜，雙目低垂，微笑著。 來源： Paul Kuhlo上校（1866-1943）藏品，在同一個家庭世代相傳。 一個著名的德國私人收藏，從上述收藏獲得。 Paul Kuhlo上校是德意志帝國東亞海軍陸戰隊司令官，1914至1919年成爲日本戰俘。他在日本時，收集了中國和日本郵票，亞洲古董，並抄寫了部分手寫日記。圖片：保羅·庫洛上校（1866-1943）品相：自然老化的狀況與年齡相稱，廣泛的磨損，自然裂縫，風化，一條橫向裂縫，有舊時填充物修補。 尺寸：高 62 厘米, 寬42 厘米, 深 11 厘米 現代底座。 釋迦佛四周可見兩位觀音和目犍連與舍利弗。蓮座上纏枝環繞，上半部分雕刻有兩棵菩提樹，下半部分顯示了兩頭佛教獅子以及兩側的博山爐。 北齊（550-577）是中國藝術史上最活躍的時期之一，無論是宗教的還是世俗的，因為它對外國人的思想、信仰和商品的開放極大地豐富了當地的文化氣候。 正是在這種國際化的氣候中，佛教雕塑經歷了最輝煌的時刻。 在北魏時期（386-534），其描繪方式是根據傳統的南亞和中亞原型改編而成的，而在北齊時期，它們已經成熟並發展成為獨特的本土風格。 然而，他們仍然散發出強烈的宗教信仰的嚴肅性，這些宗教信仰植根於六世紀中葉的政治動盪，尚未走向唐朝（618-907）令人愉悅和更具裝飾性的形象。這座佛碑與在河北省曲陽市發現的漢白玉佛像雕刻風格極爲相似，尤其是面孔雕刻細節部分。 門徒和菩薩刻有淺淺的浮雕，在細節上有更多的體現，營造出一種和諧和崇高的感覺。北京故宮博物院保存著251件來自曲陽修德寺的雕塑，這些雕塑是在1953-54年間發掘的。 在這些修德寺人物中，有100多個都刻有北齊王朝的名字，但並非全部。 拍賣結果比較： 一件尺寸較小，年代刻540年的石雕，售于紐約佳士得Treasures of the Noble Path: Early Buddhist Art from Japanese Collections 拍場，2017年9月 14 日, lot 806, 售價USD 68,750, ；一件尺寸較大唐代石碑售于倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場，2013年11月5日，lot 386, 售價GBP 98,500.

A STONE STELE OF BUDDHA SHAKYAMUNI, NORTHERN QIChina, 550-577. Depicted with an alluringly peaceful countenance, downcast eyes and a benevolent smile. The figure outstretches now-lost hands over which drape the billowing sleeves of his monastic robes, covering both shoulders and rendered simply in descending rows of graceful W-shaped folds. Surrounded by a radiating aureole formed of gently curving vertical lines and surmounted by a halo of lotus petals.Provenance: From a French private estate. Condition: Extensive weathering, erosion, losses including both hands, pitting, remnants of polychrome pigments and ancient gilt, small old fills. Two sections of the lower border of the stele have been re-attached a long time ago. Good natural grown patina.Dimensions: Height 78 cm (incl. base) and 67 cm (excl. base)Mounted on a modern base. (2)The iconography of this stele was quite prevalent during the Northern Dynasties period and can be seen in a number of comparable stele including one in the Detroit Institute of Arts, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture, National Palace Museum, Taipei, 1990, p. 67, no. 62, where it is dated Sui dynasty; and two others dated Eastern Wei, illustrated by S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Buddhist Sculpture), vol. 1, Early Six Dynasties, Tokyo, 1995, pl. 286 a and b. The sculptures discovered in a large cache at the Longxing Temple, Qingzhou, Shandong, in 1996, also included stele of Northern Wei to Northern Qi date that have the same iconography. See, Masterpieces of Buddhist Statuary from Qingzhou City, The National Museum of Chinese History, Qingzhou Municipal Museum, Beijing, 1999, pp. 56-73. In all of these, Buddha Shakyamuni is shown standing on a small plinth flanked by two bodhisattvas, most likely Avalokitesvara and Samantabhadra, the two most closely associated with Shakyamuni.The present figure shows the more rounded face and the simply defined, light, clinging robe of the Northern Qi style, which was influenced by Gupta sculpture. For a detailed discussion of the drastic change in artistic style between the preceding Northern Wei dynasty (386-535CE) and the Northern Qi characteristics of the present lot, see Angela Falco Howard et al., Chinese Sculpture (New York: Yale University Press and Foreign Languages Press, 2006), 274: “Under the influence of the Gupta style (300-600) of India ... lotus-like eyes and voluptuous lips gracing elegant, sensitively modeled torsos became an alternative to the prevailing aesthetic... [exhibiting] more naturalistic and fuller body forms, embellished with unobtrusive and elegant surface patterns.”Literature comparison: Other examples which share these characteristically Northern Qi rounded and full features and the very simply rendered, water-like flowing attire of the present lot are published in Matsubara Saburo, Chugoku Bukkyo Chokoku Shiron (Tokyo: Yoshikawa Kobunkan, 1995); specifically: the figure of an arhat in the collection of the Cleveland Museum, 450; the figure of a standing Buddha in the Nezu Museum, 493; and the figure of the seated Buddha in the Victoria and Albert Museum, 490. For a closely related stone stele of Buddha Shakyamuni, see Imperial China - The living past, p.95, no. 72.Auction result comparison: Compare with a related but larger figure at Bonhams San Francisco in Fine Asian Works of Art and Paintings on 19 December 2016, lot 8198, sold for USD 47,500. Compare also with a related stele, of smaller size but with the flanking bodhisattvas still preserved, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 13-14 September 2018, lot 1133, sold for USD 62,500.北齊釋迦牟尼石碑 中國，550-577年。釋迦面相豐潤，雙眼低斂，稍稍內收的唇角，蘊含著親切的笑意。石像圓肩寬胸，雙手丟失，衣裙覆蓋雙肩，刻劃洗鍊流暢。背光的雕飾富麗精美，疏朗的火焰紋和花瓣紋相結合，由柔和的垂直線彎曲而成，極具裝飾之美。 來源：法國私人收藏 品相：大面積風化、侵蝕，包括雙手的損失，多色顏料和古代金彩的殘物，小的舊時填料。石碑下邊界的兩個部分很久以前已經重新安裝。 良好的自然生長的包漿。 尺寸：含底座高78 厘米，不含底座厘米 現代底座。 拍賣結果比較：一件相似但更大的石像見舊金山邦瀚斯Fine Asian Works of Art and Paintings 拍場2016年12月19日lot 8198, 售價USD 47,500； 另一尊稍小但菩薩相伴的石像見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2018年9月13-14日，lot 1133, 售價USD 62,500。

A CARVED AND PAINTED WOOD FIGURE OF A HORSE, YUAN TO EARLY MING DYNASTYChina, late 14th to early 15th century. Standing foursquare with the head facing forward, the body carved from a single section with separately attached head, neck, legs, and tail, the narrow head carved with bulging eyes, pricked ears, and mouth open in a whinny.Provenance: Austrian private collection. Galerie Zacke, Vienna, 20 November 2003. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 20 November 2003, erroneously dating the piece to the Han dynasty, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Very good condition with old wear, natural age cracks, minor nicks and scratches, smaller losses here and there, wear to ancient pigments, drilling from sample-taking.Scientific Analysis Report: An AMS 14C (radiocarbon age) Analysis Report issued by Laboratoire M.S.M.A.P. SARL, Sciences des Materiaux Anciens et du Patrimoine - Etude des objets d’art, Nr. MS20-039, dated 21 February 2020 states a calibrated calendar age for the present lot of AD 1335-1435. A copy of the report, including an addendum with dating results and calibration graph, accompanies this lot.Weight: 3,595 gDimensions: Height 68.5 cm, Length 72 cm元至明初彩繪木馬像中國, 十四世紀末至十五世紀初。木馬雙眼鼓鼓，昂首注視前方，四足著地，嘴巴張開，耳朵穿孔。身體獨立雕刻，頭部、脖子、腿和尾巴分別連接在一起。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2003年11月20日。隨附一份發票副本。Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，舊磨損，天然裂紋，輕微缺口和划痕，到處有小缺損，原始顔料磨損。因爲檢測而鑽孔採樣。 科學檢測報告：隨附一份法國Laboratoire M.S.M.A.P 研究所放射性碳定年法檢測報告副本，MS20-039號，2020年2月21日，結果表明馬像應為1335-1435年間而做。 重量： 3,595 克 尺寸：高 68.5 厘米, 長 72 厘米

A LARGE PAINTED STUCCO HEAD OF A GUARDIAN KING, SONG TO MING DYNASTYChina, 12th-16th century. Wearing an elaborate headdress, centered by a scrolling and floral design, the mouth closed, the bulging eyes with black glass pupils within the deep sockets below furrowed brows, the full lips painted in pale pink, the brows, mustache, and beard are detailed in black against the beige-brown skin.Provenance: Austrian private collection. Galerie Zacke, Vienna, 12 October 2007. Dr. Mons Fischer, acquired from the above. A copy of the original invoice, dated to 12 October 2007, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups with modern polychromes, all exactly as expected from a piece of this age and size. Old wear, natural age cracks, minor nicks and scratches, small losses here and there, wear to pigments, minor touchups, drilled holes from sample-taking. Overall still outstanding condition.Scientific analysis report: A detailed pigment and gilding analysis report, issued by Laboratoire M.S.M.A.P. SARL, Sciences des Materiaux Anciens et du Patrimoine - Etude des objets d’art, Nr. MSMAP 20-038 OA, dated 13 March 2020, is accompanying this object (please also see detailed scans of the report). The study reveals the presence of an ancient gilding and remains of an ancient polychromy on the sculpture. Repaints of a modern polychromy have been detected as well, see condition report.Weight: 30 kg Dimensions: Height 68.5 cmWith an associated base. (2)Literature comparison: Compare to a guardian figure retaining the original body, similarly modeled in stucco and painted in red, preserved in the Guangsheng Temple in Hongdong county, Shanxi province, illustrated in Zhongguo siguan diaosu quanji – 3 – Lioa Jin Yuan siguan zaoxiang, Heilongjiang, 2005, no. 186. Compare also to a number of large stone guardian figures carved with similar grimace and bulging eyes below a furrowed brow, dating to either the Northern Song or Southern Song dynasty, illustrated in Dazu shike diaosu quanji-Nanshan, Shimenshan, Shizhuanshan den shiku juan (The Complete Collection of the Stone of Sculpture of Dazu), Chongqing, 1999, pp. 19, 69-72, and 98, pls. 20, 72-75, and 104.Auction result comparison: Compare with two closely related stucco heads, offered in one lot, one dated to the Northern Song dynasty (50 cm high) and the other dated Ming dynasty or earlier (56 cm high), at Christie’s Hong Kong, in Buddhist Art Under the Empire, on 9 July 2020, lot 2701, sold for HKD 812,500.宋至明彩繪灰泥護法神頭像中國, 十二至十六世紀。頭戴著精緻的冠盔，雙唇緊閉，眉毛下黑色玻璃瞳孔。精細彩繪眉毛、鬍鬚和嘴唇，生動形象。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2007年10月12日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：使用現代彩色塗料進行了一些修飾，完全符合其年齡。舊磨損，自然裂紋，輕微的划痕和缺口，局部小缺損，顏料磨損，少量補漆，因取樣產生的鑽孔。 總體而言，比較出色的。 科學檢測報告：隨附一份法國Laboratoire M.S.M.A.P 研究所顔料和金彩檢測報告副本，MS20-038號（請看報告細節），2020年3月13日，研究發現雕塑上存在古代金彩和古代顔料遺留， 還可以檢測到現代多色塗料的重塗，請參閱品相報告。重量：30 公斤 尺寸：高68.5 厘米 底座。拍賣結果比較：一組兩件非常相近的北宋 (高50 厘米)和明代或更早（高56厘米）的灰泥頭像見香港佳士得 Buddhist Art Under the Empire拍場2020年7月9日 lot 2701, 售價HKD 812,500.

A GILT-BRONZE AND CLOISONNE ENAMEL STUPA, QIANLONGChina, 1736-1795. The domed cloisonne section bears a miniature door surrounded by flames and a stepped finial surmounted by sun and moon symbols. All supported by a waisted pedestal with a band of Buddhist lion masks in relief and a votive plaque with a neatly incised depiction of Buddha.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. ‘My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,’ recalls Bridget Alsdorf, the couple’s granddaughter. Condition: Excellent condition. The base plate is original with minimal remnants of old glue visible at the edges. Minuscule chip to the enamel near the mandorla and some firing flaws. The gilding on plinth and base is extensively worn. Expected minor dents and nicks.Weight: 409 g Dimensions: Height 13.5 cmThe stupa is raised on two stepped square bases with incised lappet bands and cloud scrolls, separated by a group of rectangular reliefs with gilt Buddhist lions.A stupa is a hemispherical structure containing relics such as sarira, the remains of Buddhist monks or nuns, that is used as a place of meditation. Note that when shaken, a sound from loose objects hidden inside the present stupa is clearly audible. A related architectural term is a chaitya, which is a prayer hall or temple containing a stupa. In Buddhism, circumambulation or pradakhshina has been an important ritual and devotional practice since the earliest times, and stupas always have a pradakhshina path around them. Auction result comparison: Compare with a closely related cloisonne stupa from the same period at Sotheby's Paris in Arts d'Asie, 18 December 2012, lot 45, sold for EUR 15,000.乾隆鎏金銅掐絲琺琅佛塔 中國，1736-1795。塔身施藍色琺琅釉地，一側有火焰包圍的歡門，十三相輪有太陽和月亮符號。塔座呈四方形，上有浮雕佛獅和帶有雕刻精美的佛像刻畫的奉獻牌匾。 來源：美國芝加哥James and Marilynn Alsdorf 收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。”圖片：James and Marilynn Alsdorf, 1950年在邁阿密 品相：良好狀況，底板是原始的，在邊緣可見少量舊膠。 曼陀羅附近的釉面有微細磕損。底座上的鎏金已廣泛磨損。小凹痕和刻痕。 重量：409克 尺寸：高13.5 厘米 此塔屬供養塔，一般置於佛前供案上，以示觀想。該塔製作為分段燒製，後粘合而成。 拍賣結果比較：一件來自同一時期的相似景泰藍佛塔售于巴黎佳士得Arts d'Asie，2012年12月18日，lot 45，售價EUR 15,000.

A GILT-BRONZE FIGURE OF GUHYASAMAJA IN A GILT-BRONZE SHRINETibet, 16th-17th century. Guhyasamaja is seated in vajrasana, on a separately cast Buddhist lion standing foursquare on a lotus base, embracing his separately cast consort Sparshavajra seated on his lap. Both hold the same attributes, the crescent knife and skull cup, underlining the concept of symmetry on which the tantric student is supposed to meditate.Provenance: From an old and noted French private collection in Paris.Condition: Very good condition with old wear, minor nicks and scratches, traces of pigment, wear to gilt, small dents and losses here and there.Weight: 1,398 g (the figure) and 2,035 g (the shrine) Dimensions: Height 15 cm (the figure only) and 27 cm (the shrine)Guhyasamaja also holds an arrow, a snake, as well as two vajras in his principal hands embracing his consort, a flaming mandorla with a ring of skulls and another of vajras behind them.With a modern black glass base. (2)Auction result comparison: Compare the figure in the present lot with a related gilt bronze of Guhyasamaja in union with his consort, dated to the 15th century, at Christie’s Paris in Art d’Asie on 12 December 2018, lot 27, sold for EUR 27,500.銅鎏金密集金剛西藏，十六至十七世紀。密集金剛結金剛坐坐在蓮座上的獅子上，金剛與獅子兩者不是一體鑄造。金剛擁抱著他的佛母。他們手上拿著相同的法器即月牙刀和頭骨杯，顯示了密宗冥想的對稱性概念。 來源：巴黎一個知名私人收藏 品相：狀況良好，有舊磨損，少量划痕和缺口，色素餘留，鎏金磨損，小凹痕以及在局部缺損。 重量：像1,398 克；神座 2,035 克 尺寸：像高15 厘米；神座27 厘米 拍賣結果比較：一座十五世紀銅鎏金密集金剛與佛母見巴黎佳士得Art d’Asie 拍場2018年12月12日 lot 27, 售價EUR 27,500.

AN EXCEPTIONALLY LARGE AND MASSIVE CAST-BRONZE AND COPPER-REPOUSSE STATUE OF BUDAI, QING DYNASTYChina, 1644-1912. The gilt-lacquered laughing Buddha is seated in rajalalitasana on his sack, which is hidden under his long flowing robe, atop a double lotus base, his left hand resting on his knee with the palm facing upwards, his right resting on the other knee, wearing a loose-fitting monastic robe hanging off the shoulders and opening at the chest.Provenance: Italian private estate. Austrian private collector, acquired from the above.Condition: Extensive wear, some losses, dents, nicks, and casting flaws. The statue has suffered significant structural damage, mostly to the copper-repousse base, which has literally been torn to pieces, resulting in modern repair work to most of the joints, only visible from the inside. Because of these repairs, the lacquer coating has also suffered in areas, but also due to extensive weathering, leading to the application of several layers of lacquer and gilt over the decades and possibly even centuries. A public temple statue such as the present lot, and particularly one depicting the extremely popular Budai, will inevitably be exposed to extensive touching. As a result, the lacquer gilding of an authentic piece will have been renewed many, many times. The present statue was at least once removed by force from its original location, causing the present structural damages, and soldered back together much later, when it entered the trade some time ago.Weight: ca. 31 kgDimensions: Height 79.5 cmThe cheerful face with gently arched eyebrows above heavy-lidded eyes with incised pupils, centered by an urna, a broad nose, and a wide-open mouth as the Happy Buddha lets out a joyous laugh, flanked by elongated pendulous earlobes.Budai is a popular figure in Qing art, representative of contentment and abundance. He is usually portrayed as laughing, hence the title ‘Laughing Buddha’. The current figure of Budai is an exceptionally large example and must therefore be considered extremely rare.The base and parts of the body are made from solid copper-alloy and worked in fine repousse, while the upper sections are made from cast bronze.Auction result comparison: A related but smaller gilt bronze Budai dated to the Ming dynasty was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 27 September 2019, lot 50, sold for EUR 74,820.清代布袋和尚銅像中國，1644-1912年。鎏金漆銅笑佛呈休閑坐坐在麻袋上，而麻袋則藏在長袍下，雙層蓮花座。左手放在膝蓋上，手掌朝上，右手放在另一邊的膝蓋上，穿著一件寬鬆的袈裟，披在肩膀上，敞胸露腹。來源：意大利私人遺產。奧地利私人收藏，購於上述遺產。 品相：大量磨損，一些損失，凹痕，缺口和鑄造缺陷。該雕像曾受過重大的結構性損壞，主要是銅錘揲的底座，實際上已成碎片，因此有大量的現代維修，這些部分只能從內部看到，也因此漆層在某些地區受到破壞。因爲廣汎的風化，所以過去的幾十年甚至幾百年進行過多次上漆和鎏金。像現在這樣的公共寺廟雕像，尤其是深受歡迎的布袋和尚，就不可避免地會受到觸摸。原始漆層和鎏金被更新很多次。這座雕像至少一次被用力從其原始位置移開，造成了目前的結構性損壞，並在不久前因爲銷售又被重新焊接在一起。 重量：約31 公斤 尺寸：高79.5 厘米 底座和像身部份由銅合金製成，並使用精美錘揲工藝，而上部則是銅鑄而成。 拍賣結果比較：一件相近但更小的明代鎏金銅布袋曾在本拍賣行Fine Chinese Art, Buddhism and Hinduism拍場2019年9月27日 lot 50, 售價EUR 74,820.

A MONUMENTAL BURLWOOD SCHOLAR’S ROCK, LATE QING TO REPUBLICChina, 1860-1940. Of a unique gigantic size, well carved in the round as a pierced rock formation, skillfully utilizing the uneven surface with its angular areas and projections, the undulating surface simulating a scholar’s rock.Provenance: From a notable New York private collection. Condition: Excellent condition with minor wear, traces of use and natural weathering and erosion.Weight: 16.9 kg Dimensions: Height 116 cm (incl. base)With a naturalistically carved, modern wood base. (2)Auction result comparison: Compare with a similar burlwood scholar’s rock but of much smaller size (25 cm high) at Sotheby’s London in Important Chinese Art on 11 November 2015, lot 166, sold for GBP 6,250, another of much smaller size (34 cm high), dated to the 18th/19th century, at Christie’s New York, in Fine Chinese Ceramics & Works of Art, on 16 October 2001, lot 232, sold for USD 23,500, and a root wood sculpture of a scholar’s rock, again of much smaller size (56 cm high), at Christie’s Hong Kong, in a Private Asian Collection of Bamboo and Wood Carvings, 3 October 2016, lot 34, sold for HKD 62,500.清末民初癭木山子 中國，1860-1940年。木山子，取癭瘤而成，棕紅色，皮殼老辣，包漿瑩潤。上方有孔，頗為險峻。下方細，靈動堅强。下承木座，小矮足。來源：紐約著名私人收藏 品相：狀況極佳，有輕微磨損，使用痕跡以及自然風化和腐蝕。重量：16.9 公斤 尺寸：含底座高116 厘米現代天然小木座。拍賣結果比較：一件癭木山子，尺寸較小（25厘米高），於2015年11月11日在倫敦蘇富比Important Chinese Art拍場售出，拍號166，售價GBP 6,250。另一件但尺寸更小（34厘米），斷代為十八至十九世紀，售于紐約佳士得 Fine Chinese Ceramics & Works of Art拍場，2001年10月16日，拍號232，售價USD 23,500。在香港佳士得拍賣行於2016年10月3日舉行的Private Asian Collection of Bamboo and Wood Carvings拍場，一件尺寸更小的（高56厘米）根雕木山子，拍號34，售價HKD 62,500。

A THANGKA OF BUDDHA AMITABHA, 18TH CENTURYTibet. Distemper and gold on cloth. Amitabha seated in dhyanasana on a large pillow, a mandorla and a halo behind him, flanked by White and Blue Tara, with Padmasambhava below with a vajra, crescent knife, and staff.Provenance: Collection of Karl Ryberg, purchased in Stockholm between 1939 and 1944. Karl Ryberg was a Swedish painter and sculptor. He studied under Isaac Grünewald in Stockholm, and later at the Royal Danish Academy of Fine Arts as well as the Academie de la Grande Chaumière in Paris. His work includes both modern and Christian art.Condition: Good condition with some wear, minor soiling, small tears, minuscule losses.Dimensions: Size incl. frame 78 x 57.5 cm, Image size 52 x 36.5 cmFramed behind glass, with a black lacquered wood frame.Auction result comparison: Compare with a related Thangka, but of considerably larger size, at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 316, sold for USD 162,500.十八世紀阿彌陀佛唐卡 西藏。布面金彩膠畫。 阿彌陀佛結跏趺坐在寶座上，身後是曼陀羅和光背，旁邊是白度母和藍度母。其之下是手握金剛杵、月牙刀的蓮花生大士。 來源：Karl Ryberg收藏，1939年至1944年在斯德哥爾摩購買。Karl Ryberg是瑞典畫家和雕塑家。 他曾在斯德哥爾摩的Isaac Grünewald學習，後來在丹麥皇家美術學院以及巴黎大學院夏米埃學院（Academiede la Grande Chaumière）學習。 他的作品包括現代和基督教藝術。 品相：狀況良好，有一定的磨損，輕微的污跡，小水漬，小缺損。 尺寸：含框 78 x 57.5 厘米, 畫面52 x 36.5 厘米 玻璃面黑漆木框。拍賣結果比較：一件相似的唐卡但尺寸更大見紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場2018年9月12日 lot 316, 售價USD 162,500。

A THANGKA OF FIVE ARHATS, 18TH-19TH CENTURYTibet. Distemper and gold on cloth. The central figure seated in dhyanasana, the hands obscured by the monastic robe, surrounded by arhats, divinities, and acolytes in a landscape with trees, flowers and rocks. With a silk brocade frame and mounted as a hanging scroll.Provenance: Collection of Hellen and Joe Darion, New York, USA. Helen Solomon Darion (1915-2018) studied violin and modern dance and performed as a young adult in New York City. She married Joe Darion (1911-2001), an American lyricist, with whom she shared a deep passion for art. Joe Darion is best known for writing the lyrics for the 1965 blockbuster musical, Man of La Mancha. The couple had an eclectic taste spanning the arts of East and Southeast Asia. Today, many of their collected works can be found in museum catalogs and scholarly dissertations.Published: Himalayan Art Resources, item no. 24529.Condition: Good condition with wear, soiling, minor creases, small losses with associated touchups.Dimensions: Size incl. mounting 132 x 71 cm, Image size 66 x 42.5 cmThe Sixteen Great Arhats are generally painted as part of a set, either as single figures or in groups of two to five figures. The full group would include the Buddha Shakyamuni, the sixteen Arhats, the attendant Dharmatala, the patron Hva-shang, and the Four Guardians of the Directions - Vaishravana, Virupaksha, Dritarashtra and Virudhaka.Literature comparison: Compare with a related thangka in the collection of the Rubin Museum of Art, object number F1998.10.3, also published on Himalayan Art Resources, item no. 640.Auction result comparison: Compare with a related thangka at Christie’s London in Chinese Ceramics, Works of Art and Textiles Part I on 4 November 2014, lot 281, sold for GBP 15,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十八至十九世紀五羅漢唐卡西藏，布面金彩膠畫。中心人物结跏趺坐，双手被袈裟遮住，周围樹木、花朵和岩石环绕，還有其他羅漢及神人與侍从。 有锦缎裝幀，卷轴。 來源：美国纽约Hellen和Joe Darion收藏。 Helen Solomon Darion（1915-2018）研究小提琴和现代舞，年轻时就在纽约演出。 她与美国作词家Joe Darion（1911-2001）结婚，她对艺术充满了热情。 Joe Darion以1965年大型音乐剧《 Man of La Mancha》的歌词创作而闻名。 这对夫妻具熱愛东亚和东南亚艺术。 今天，在很多博物馆目录和学术论文中都可以找到他们的许多收藏品。 圖片：Joe Darion (左) 因爲《 Man of La Mancha》獲得金唱片獎 出版：Himalayan Art Resources, item no. 24529. 品相：状况良好，有磨损，污跡，细微折痕，与修补相关的小损耗。 尺寸：縂132 x 71 厘米, 畫面66 x 42.5 厘米 拍賣結果：一件相近唐卡見倫敦佳士得Chinese Ceramics, Works of Art and Textiles Part I 拍場2014年11月4日 lot 281, 售價GBP 15,000.

A THANGKA OF CATURBHUJA MAHAKALA, 18TH- 19TH CENTURYTibetan-Chinese. Finely painted on a black ground with the four-armed blue Mahakala seated on a lotus throne, wearing a tiger-skin dhoti, a white ribbon decorated with lotus scrolls around his shoulders, snakes as bangles and a necklace, and a five-skull crown. Holding in his principal hands a crescent knife and a skullcap, the other hands holding a vajra-handled sword and a trident.Provenance: Schoettle Ostasiatica, Germany, c. 1990 (inventory stamp and number to back). Swiss private collection, acquired from the above, and thence by descent to the present owner. Koller, Zurich, 4 June 2019, lot 161, bought-in at an estimate of CHF 15,000-25,000, auction label to reverse.Published: D. I. Lauf, Eine Ikonographie des tibetischen Buddhismus, Graz 1979, p. 115, illustrated on the cover.Condition: Very good condition with some losses and creases, some with minor old touchups.Dimensions: Size incl. frame 80 x 60.4 cm, Image size 60 x 42 cmClose stylistic similarities between the present lot and the paintings in the Yuhuage, constructed between 1750 and c. 1776, suggest that this work is an imperial commission dating to the second half of the eighteenth century, made under the supervision of Rolpai Dorje, the master of esoteric Buddhist iconography.The wrathful deity shows a fierce expression with an urna, furrowed brows, and the mouth wide open revealing sharp teeth, and is surrounded by a flaming mandorla below Chakrasamvara in yab-yum with his consort. Surrounding the lotus throne are four wrathful bird-headed deities holding skullcaps and crescent knives as well as Palden Lhamo riding a mule and holding a sword and skullcap, flanked by two further wrathful gods, the lion-headed Dakini Simhamukha and a two-armed Mahakala.With a modern frame as well as a photograph showing the reverse of the thangka, with a signature and several collector’s inscriptions.Auction result comparison: Compare with a related thangka of larger size and depicting the goddess Carcika and consort, dated to the Qianlong period, at Sotheby’s New York in Indian, Himalayan and Southeast Asian Works of Art on 22 September 2020, lot 309, sold for USD 47,880. Compare also with a related thangka of considerably larger size at Christie’s New York in Indian & Southeast Asian Art on 1 April 2005, lot 84, sold for USD 31,200.十八至十九世紀四臂大黑天唐卡漢藏。黑地上精美彩繪，四臂的藍色大黑天坐在蓮花座上，身披虎皮，白色的緞帶上飾有蓮花紋，蛇紋手鐲和項鍊，還有骷髏頭冠 。他的手裏拿著月牙刀和一個頭骨杯，其他的手拿著金剛柄的劍和三叉戟。 來源：德國Schoettle Ostasiatica，1990年代(背部印章及標籤)。瑞士私人收藏，購於上述收藏，然後傳承至現任藏家。蘇黎世Koller拍賣行，2019年6月4日，lot 161, 估價CHF 15,000-25,000, 底座可見拍賣標簽。 出版：D. I. Lauf, Eine Ikonographie des tibetischen Buddhismus（藏傳佛教圖像學）, Graz 1979, p. 115, 封面。 品相：狀況非常好，有一些損失和摺痕，有的還有些舊時小修。 尺寸：縂80 x 60.4 厘米, 畫面60 x 42 厘米 現代裝裱，一張展示唐卡背面的照片，並帶有簽名和幾個藏家的題詞。 拍賣結果比較：一件相近但尺寸更大的乾隆時期Carcika及其佛母唐卡見紐約蘇富比 Indian, Himalayan and Southeast Asian Works of Art 拍場2020年9月22日lot 309, 售價USD 47,880. ；另一件尺寸更大的唐卡見紐約佳士得 Indian & Southeast Asian Art 拍場2005年4月1日 lot 84, 售價USD 31,200.

AN IMPERIAL ‘DOUBLE DRAGON’ SPINACH-GREEN JADE SEAL, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEChina, 18th century. Of large and massive square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the bodies tightly intertwined and crouching on the haunches.The seal face inscription: ‘Jiangning fudu Chenghuang zhi yin’ (‘The seal of Chenghuang in the Capital of Jiangning’), written in both Manchu and Chinese. Chenghuang, god of the boundaries, is an important deity in China who protects the local people and affairs of a village, town, or capital, both in life and death.The inscriptions incised to the sides, added in 1878: ‘Zhuchi Xianding li’ (consecrated by abbot Xianding), ‘Puren Juntong Ye Wenquan kan’ (amended by Ye Wenquan of Pu region) and ‘Guangxu san'nian zao’ (in the third year of the Guangxu reign). Ye Wenquan was an official during the Guangxu period, from Jiangsu province, who passed the imperial examination in 1890. Provenance: Nicholas Grindley, Inc., Asian Works of Art, New York, 28 September 1982 (label to side). The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Nicholas Grindley (born 1951) is a well-known dealer and scholar of Chinese art. Since 1998 he has published two catalogs a year, and exhibited in London, New York and Hong Kong. Many works from these exhibitions are in museums and important private collections throughout the world.Condition: Good condition with old wear, some nicks and nibbling to edges and corners, the stone with natural flaws, fissures and inclusions. Fine patina.Weight: 1,678 g Dimensions: Height 8.8 cm, Width 10.1 cmThe present seal illustrates the mastery of Imperial jade craftsmanship during the Qing Dynasty, and especially the Qianlong period. It appears to be one of the better-preserved examples of Imperial lapidary work from the 18th century and is notable for its high-quality jade of pure dark green color, vigorous rendering of the dragons, and inscriptions to the sides added during the Guangxu period. Large top-quality jade stones such as in the present example were not readily available during the later Qing dynasty. For this reason, seals inherited by emperors after 1850 were sometimes re-purposed and provided with additional inscriptions on various occasions. The fine material, the fullness of the crouching body, the three-dimensionality in the facial features, and the intricately carved scales set the present seal clearly apart from the characteristic stiffness of typical Guangxu seals (see literature comparison further down below for two such seals). It is therefore concluded that despite the incised inscriptions to the top sides being dated 1878, the seal itself is from an earlier date – the Qianlong period. As opposed to the present lot, Imperial seals belonging to the Guangxu court and related officials, carved at the time, typically are of a lesser material, already reflecting the financial constraints of the period. The limited availability of good-quality jade stone during these days is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Empress Cixi and made of serpentine are known, see the example sold at Christie's Paris, 14 June 2006, lot 139 (see literature comparison further down below). The reign of the Guangxu Emperor was witness to one of the most disruptive periods in the 5000-year history of China, which eventually led to the demise of the entire Qing Dynasty Empire. Naturally, these hard times saw a significant decline in both the quality of artwork created and the quality of materials available to the workshops. Literature comparison: For typical seals carved during the Guangxu period, see a wooden double-dragon seal belonging to the Guangxu Emperor, sold at Sotheby's Paris, 11 June 2009, lot 233, and a green serpentine double-dragon seal belonging to the empress dowager Cixi, sold at Christies Paris, June 14 2006, lot 139. For a seal that is stylistically related to the present lot, but created for Emperor Qianlong’s eightieth birthday, see Sotheby’s London, 4 November 2009, lot 136.Auction result comparison: Compare the present seal with a related, but slightly larger double-dragon seal, also with an inscription in Manchu and Chinese, at Sotheby’s Hong Kong, Important Chinese Art, 7 October 2015, lot 3698, bought-in at an estimate of HKD 5,000,000-7,000,000. Also compare with a double-dragon seal from the 18th century, with the seal face re-carved during the Guangxu reign for the Empress Dowager Cixi, at Sotheby’s London, Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 186, sold for GBP 313,250.御制碧玉滿漢文交龍鈕中國，十八世紀。印面呈方形，立體高浮雕交龍鈕，神龍挺胸，龍首微昂，圓目張吻，平視前方，豎角橫須，鬃發飛揚，凜然神威。龍身捲曲交纏而龍首相背，龍爪緊抓印面，龍脊微隆，軀幹遒勁，威猛張揚。龍身鱗片雕琢精細。印文：印文規整，刻工精湛，滿漢雙語，江寧福都城隍之印。款識：光緒三年造；主持賢定立 ；濮人俊同葉文銓刊。葉文銓，江蘇人， 1890年光緒時期進士。來源：紐約Nicholas Grindley 亞洲藝術藝廊，1982年9月28日 (可見標簽)。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。Nicholas Grindley 出生於1951，是知名中國藝術學者與商人。自1998 年起他出版了兩本畫冊並在倫敦、紐約和香港舉辦展覽。這個展覽裏的很多展品曾在全球重要博物館和私人收藏展出過。圖片：1950年James 與 Marilynn Alsdorf在邁阿密圖片：Nicholas Grindley品相：狀況良好，有舊磨損，輕微划痕，邊角磕損，玉石有天然裂縫和內含物。 良好的包漿。重量： 1,678 克尺寸：高8.8 厘米, 寬10.1 厘米這枚龍鈕碧玉章充分體現了清代對玉雕工藝的精通，並且似乎是該時期御用文物保存最完好的例子之一，純正的深綠色玉石，生動交龍紋以及兩側精湛的刻字。在本例子中，大型的優質玉石在19世紀後期並不容易獲得。 出於這個原因，有時會重新利用繼承的印章，並在各種場合增加額外的文字。 精美的材料，精湛的雕工，明顯不同於典型的光緒印章的特有硬度（請參閱下面的文獻比較，進一步了解這兩種印章 ）。 因此得出的結論是，儘管上面刻有切刻的銘文是1878年，但封印本身必須是較早的日期，乾隆時期。相反的是，光緒朝廷和官員的印章材料等級較次，反映了該時期的財務限制，因此優質玉石的供應有限。這可通過使用蛇紋石和木料來生產皇家印章的現象來佐證。 慈禧太后“雙龍”印章是眾所周知的，請參見巴黎佳士得於2006年6月14日139號拍出的示例（請參見下面的文獻比較）。文獻比較: 光緒時期的印章以光緒帝一件木製雙龍印售于巴黎蘇富比，2009年6月11日 lot 233；慈禧的蛇紋石雙龍印售于巴黎佳士得2006年6月14日 lot 139。一件乾隆八十歲閑章見倫敦蘇富比2009年11月 4日，lot 136。拍賣結果比較：一件相近但更大的滿漢文雙龍印見香港蘇富比 Important Chinese Art拍場2015年10月7日，lot 3698, 估價HKD 5,000,000-7,000,000。慈禧雙龍印見倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日 lot 186, 售價GBP 313,250。

‘CAT AND BUTTERFLY’, LINGMAO XIDIE, BY XU BEIHONG (1895-1953)Ink and watercolors on paper. Depicting a cat perched on a rocky outpost trying to catch a butterfly with its right forepaw, blades of grass in the background.Inscriptions: Signed Beihong. Dated renwu year (corresponding to 1942). Inscribed for Mr. Yukui and Ms. Qianru. One seal, Donghai wangsun (by Xu Beihong). One collector’s seal to lower right, Bojiao suo cang (Collection of Bojiao).Superscriptions: Poetry hall signed Guan Zhenmin and inscribed Lingmao xidie (cat playing with butterflies), dated to the spring of the year of Bingxu (corresponding to 1947). Two seals, Zhenmin zhi bo and Lütian luzhu.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘25’ to the back.Condition: Excellent condition with minor wear, little soiling and creasing, some foxing.Dimensions: Size 98.4 x 40.8 cm (the painting) and 29.6 x 40.8 cm (the poetry hall)Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings and in the end became a well-known figure in the world due to his contributions in the art industry. After the founding of the People's Republic of China in 1949, Xu became president of the Central Academy of Fine Arts and chairman of the China Artists Association.Xu Beihong was a master of both oils and Chinese ink. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasizes the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one painter most responsible for the direction taken in the modern Chinese Art World.Auction result comparison: Compare with a closely related work by the same artist at China Guardian on 18 December 2017, lot 65, sold for EUR 64,045 (CNY 500,000), and another at Christie’s Hong Kong in Fine Modern Chinese Paintings on 28 May 2007, lot 1107, sold for HKD 504,000.徐悲鴻(1895-1953)《靈貓戯蝶》 紙本設色。一隻貓於山石之上戲蝶的情景，將貓的頑皮活潑和機警的表情表達得淋漓盡致。 款識：玉魁先生，倩如女士共賞，悲鴻壬午。鈐印：東海王孫詩堂：靈貓戲蝶。丙戌小春月，玉魁先生雅屬並正，管震民時年六十又七同客檳榔嶼。鈐印：震民之缽，綠天廬主 來源：知名繪畫私人收藏，背面藏品標簽上可見 ‘25’ 。 品相：狀況極佳，磨損少，些微和起皺。 尺寸：畫98.4 x 40.8 厘米；詩堂29.6 x 40.8 厘米 拍賣結果比較：同一位藝術家相似作品，售于中國嘉德2017年12月18日, lot 65, 售價EUR 64,045 (CNY 500,000)；另一件相似作品，售于香港佳士得Fine Modern Chinese Paintings 拍場2007年5月28日，lot 1107, 售價HKD 504,000.

‘LADY JIN YIYI’, BY ZHANG DAQIAN (1899-1983)Ink, watercolors, and gilt on paper. Portrait of the young Jin Yiyi, masterfully executed by the artist in the style of mural paintings from the Tang period, with elaborately coiffured hair, wearing long flowing robes with finely decorated yet somewhat ‘worn’ hems.Inscriptions: Signed Zhang Yuan. Dated yiyou year (corresponding to 1945). Inscribed “Lady Jin Yiyi, in the style of paintings from the Tang period, of the Mogao Caves”. Two seals: Zhang Yuan zhi yin and Daqian. Note that “Lady Jin Yiyi” was in fact Jin Ce (1882-1948), spouse of calligraph and poet Quan Tigan.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘38’ to one of the wooden scroll pegs.Condition: Excellent condition with very minor wear and microscopic foxing. The mounting at the upper edge with extensive wear, several tears, and partially repaired with old tape, the painting itself not affected at all.Dimensions: Image size 86.9 x 35.6 cmMounted as a hanging scroll with finely carved and lacquered wooden handles.Expert’s note: The ‘wear’ on the hems and on the less elaborately decorated ribbon is clearly intended by the artist, as the present ‘abrasions’ are limited entirely to them and not seen elsewhere in the painting. The neatly painted floral borders, though at first glance barely visible below the layer of ‘abrasions’, create a striking contrast that reminds us of the inherent yet often overlooked contradictions in nostalgia for a long-lost age.Zhang Daqian was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang’s first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.The Mogao Caves, also known as the Thousand Buddha Grottoes or Caves of the Thousand Buddhas, form a system of 500 temples 25 km southeast of the center of Dunhuang, an oasis located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years, with the very first caves built in AD 366 as places of Buddhist meditation and worship. They are the best known of the Chinese Buddhist grottoes and, along with Longmen and Yungang Grottoes, are one of the three famous ancient Buddhist sculptural sites of China.Auction result comparison: Compare with a closely related work by the same artist at Christie’s Hong Kong in Fine Chinese Modern Paintings on 1 December 2015, lot 1554, sold for HKD 687,500, and another at Christie’s Hong Kong in Fine Modern and Contemporary Chinese Paintings on 29 May 2005, lot 812, sold for HKD 504,000.張大千 (1899-1983)《仿莫高窟初唐人衣飾金怡怡夫人》 紙本設色。年輕的金怡怡夫人肖像，如初唐仕女衣飾，頭髮精心修飾，穿著長袍飄逸，裝飾精美，下擺処看上去略有“破舊”感。 款識：乙酉（1945）五月，仿莫高窟初唐人衣飾，似怡怡金夫人清鑑，蜀郡張爰。 鈴印：張爰之印，大千專家注釋：畫家顯然打算在下擺和裝飾不太精美的緞帶上再增加些“裝飾”，因為目前的“擦傷”完全限於它們，在畫中的其他地方看不到。 整潔的花卉飾紋雖然乍看之下幾乎看不到“擦傷”層，但卻形成了鮮明的對比，使我們想起了一個失散已久的懷舊內在矛盾，但它經常被人們忽略。 來源：知名繪畫私人收藏，背面藏品標簽上可見“38”品相：狀況極佳，磨損極小，並經過微觀拋光處理。 上邊緣的裝裱磨損嚴重，有幾處撕裂，並用舊膠帶部分修復，繪畫本身完全沒有受到影響。尺寸：畫面 86.9 x 35.6 厘米 天地杆雕刻精美。 拍賣結果比較：同一位藝術家相似的作品，售于香港佳士得 Fine Chinese Modern Paintings拍場 2015年12月1日，lot 1554, 售價HKD 687,500；另一件相似作品，售于香港佳士得 Fine Modern and Contemporary Chinese Paintings 拍場2005年5月 29日，lot 812, 售價HKD 504,000.

‘PEONIES AND BIRDS’ BY ZHAO SHAO’ANG (1905-1988)Ink and watercolors on paper. Superbly painted with two small birds, one with the beak open as it caws, perched on a branch next to flowering peonies, executed with bold and vivid brushstrokes and an expressive composition of warm colors. Matted and framed behind glass.Inscriptions: Lower right, signed ‘Shao’ang’. One seal, ‘Zhao Shao’ang xi’.Provenance: Collection of Dr. Lubor Hájek (1921-2000) and thence by descent in the same family. A Czech private collection, acquired from the above in 2010. Dr. Lubor Hájek was a Czech art historian. In 1952 he founded the Oriental Art collection of the National Gallery Prague, which he ran until 1986.Condition: Excellent condition with minor wear and traces of use.Dimensions: Size incl. frame 56.2 x 75.3 cm, Image size 45 x 64 cmZhao Shao'ang (1905-1988) is considered one of the Four Great Masters of the Lingnan School. In the late 19th century, scholars in China broke through entrenched conservative thought schools and began to create and promote new styles of art. This not only cultivated ideological progress within social elites but also gave birth to the eclectic fusion of the Han Chinese and Western styles, as advocated by the Lingnan School, which today is considered - along with the Beijing and Shanghai schools - as one of the three pillars of modern Chinese painting.Auction result comparison: Compare with a related hanging scroll of the same subject by the same artist (45 x 96 cm) at Christie’s Hong Kong in Fine Chinese Modern and Contemporary Ink Paintings on 1 December 2020, lot 1058, sold for HKD 275,000, and a closely related painting of the same subject by the same artist (58.5 x 93.8 cm) at Sotheby’s Hong Kong in Fine Chinese Paintings on 3 April 2012, lot 1175, sold for HKD 860,000.趙少昂 (1905-1988) 《 牡丹富貴》鏡心紙本設色。富貴牡丹圖，一對小鳥站于枝頭，大胆生动的笔触，色彩純净艷麗卻不俗，鏡心。装在玻璃后面。 款識：右下角落款 “少昂“；一枚鈴印”趙少昂鉩“ 來源：Lubor Hájek博士（1921-2000）收藏，自此在同一家族收藏。捷克的私人收藏，于2010年从上述收藏購得。Lubor Hájek博士是捷克艺术史学家。 1952年，他创立了布拉格国家美术馆的东方艺术收藏，一直到1986年。 圖片：Dr. Lubor Hájek (1921-2000) 1978年在捷克布拉斯拉夫 品相：状况极佳，有轻微磨损和使用痕迹。 尺寸：含框 56.2 x 75.3 厘米, 畫面45 x 64 厘米 拍賣結果：一件趙少昂同一主題的挂軸 (45 x 96 厘米) 見香港佳士得Fine Chinese Modern and Contemporary Ink Paintings拍場2020年12月1日 lot 1058, 售價HKD 275,000, ；另一幅 (58.5 x 93.8 厘米) 見香港蘇富比Fine Chinese Paintings 拍場2012年4月3 日 lot 1175, 售價HKD 860,000.

A HIGHLY IMPORTANT AND LARGE SCHIST STATUE OF HARITI, GANDHARA, 2ND-3RD CENTURYDepicted seated in European fashion with each foot on a small lotus pedestal, one hand holding a child on her lap motioning towards her breast, the other hand holding a bunch of grapes, richly adorned in beaded jewelry, wearing a loose robe with voluminous folds, the face with a softly smiling expression and almond shaped eyes, her hair arranged into an elaborate chignon with a scaled headdress, a second child standing by her side.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Un Gandhara en schiste – dit: Hariti – Haut: 95,5 cm.” (A schist Gandhara – called: Hariti – Height: 95.5 cm). A copy of the inventory list and cover page are accompanying this lot.Condition: Extensive weathering and wear. Few structural cracks with associated old repairs. Some breaks, losses, nicks, dents and erosions. Remnants of old varnish coating above remnants natural soiling from excavation.French Export License: Certificat d’exportation pour un bien culturel Nr. 185430 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 90 kg (total)Dimensions: Height 95.5 cm (excl. base)With an associated wood base. (2)Hariti was the principal female Buddhist deity of ancient Gandhara with widespread popularity throughout Central Asia and China for at least the first three quarters of the first millennium CE. When the Chinese pilgrim, Yi Jing, visited Gandhara in 671, he saw sculptures of Hariti commonly installed near the dining halls of Buddhist monasteries (see Takakusu (trans.), Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896). Yet only about a half dozen large sculptures of Hariti have survived to this day. Among these, the present sculpture is one of the best carved examples in private hands.The story of Hariti’s conversion to Buddhism survives in many ancient Indian and Chinese sources. Despite being a mother to 10,000 children, the ogress Hariti routinely terrorized the Northern Indian city of Rajagrha, devouring its children. After failing to appease, Rajagrha's inhabitants beseeched the Buddha to pacify her. Underneath his alms bowl, Buddha hides Hariti's most beloved child from her. This sends Hariti into a frenzy, searching for her missing son. When Buddha finally returns her child, he prompts Hariti to consider the pain she has caused other mothers. Struck by empathy, Hariti converts to Buddhism and, in exchange for food offerings, promises to protect its monastic communities and Rajagrha's children.Auction result comparison: Compare with a closely related schist Hariti at Bonhams London in Islamic and Indian Art including Modern and Contemporary South Asian Art on 22 October 2019, lot 144, sold for GBP 187,562.二至三世紀健陀羅重要大型片岩鬼子母像鬼子母神以歐洲風格坐在蓮座上，一隻手抱著個孩子擱在膝蓋上似乎正往胸前送，另一隻手拿著一串葡萄。她佩戴著精美珠寶，穿著寬鬆的長跑，綫條流暢，表情溫柔，杏仁狀眼睛，高髻。一側站著另一個孩子。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在此目錄裏，對本拍品有如下描述：片岩健陀羅鬼子母 高95，5厘米）。隨附目錄與其封面。品相：廣泛的風化和磨損。些微裂縫與舊修補。一些斷裂、缺損、划痕、凹痕和腐蝕。還保留著舊時的清漆塗層。 法國出口證書：隨附2017年7月3日出具的Certificat d’exportation pour un bien culturel 出口證書，編號 185430 。重量：總重 90 公斤 尺寸：高95.5 厘米 (不含底座) 木底座。 鬼子母神是古健陀羅地區主要佛教女護法神。當年，來自大唐的求法高僧義净671年來到健陀羅時，在寺院食堂附近發現了鬼子母雕塑 (見高楠順次郎的 Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896)。到目前爲止，只發現了六件鬼子母神像。其中，這件雕塑是私人收藏中雕刻得最好的作品之一。在佛教故事裏都記載了關於鬼子母的傳説。據説夜叉鬼子母有一萬個孩子。爲了養育他們，她不停的去印度拉價格哈吞噬其他孩子。居民們不勝其擾，請釋迦牟尼來收服她。釋迦牟尼把她最寵愛的一個孩子藏在了他的食缽中。鬼子母找不到自己的孩子，只好找釋迦牟尼求助。佛陀說她現在也體會到了失去孩子的痛苦。於是，鬼子母收到慈悲的教化，成爲護法神之一。而與此同時，佛教僧人開始養育其孩子。 拍賣結果比較：一件相近片岩鬼子母像見倫敦邦瀚斯Islamic and Indian Art including Modern and Contemporary South Asian Art 拍場2019年10月22日lot 144, 售價GBP 187,562.

A SUPERBLY CARVED GRAY SCHIST HEAD OF BUDDHA, GANDHARAAncient region of Gandhara, Kushan period, 2nd-3rd century. The face with a serene, meditative expression. The almond-shaped, half-open eyes framed by gently curving brows centered by a raised urna, the lips sensuous and delicate, the hair in wavy curls rising to form the ushnisha.Provenance: From an old Belgian private collection, acquired by the grandmother of the present owner between 1960 and 1970.Condition: Good condition commensurate with age. Extensive wear, losses, weathering. Remnants of ancient lacquer gilding.Weight: 4,335 g (excl. base) Dimensions: Height 22 cm (excl. base)Modern stand. (2)Originally part of a full image of the Buddha, this head would have been gently tilted forwards and looking downwards. The face is that of a young, handsome prince indicating the Buddha early in his ministry having left behind his privileged life as Prince Siddhartha. The artist has captured exquisite psychical beauty coupled with a deep spirituality, the face masterfully rendered to attract the worshipper to him but with the tranquil expression encouraging spiritual contemplation.Auction result comparison: Compare with a closely related Gandharan Buddha head of 24 cm, with slightly different spiral curls, at Christie’s New York, in Gandharan Buddhist Art from the Collection of a Prince, on 20 September 2007, lot 258, sold for USD 29,800.犍陀罗灰色片岩佛陀头像犍陀罗, 贵霜帝国, 二至三世纪。面部表情沉靜。 杏仁形的眼睛半睜，以彎曲的眉毛為中心，嘴唇表现細膩，螺发。 來源：比利时私人老收藏。现藏家的祖父于1960 至1970年间从上述收藏购得。 品相：狀況與年齡相符，大量磨損，風化。殘留的古代金漆。 重量：4,335 克 (不含底座) 尺寸：高 22 厘米 (不含底座) 現代底座。這個佛陀頭像最初是佛陀像的一部分。佛头輕輕地向前傾斜並向下看。 面孔顯現的是一位年輕英俊的王子的臉，表現了佛陀在放棄了悉達多太子的特權生活。雕刻師捕捉了精神的靈性，巧妙地描繪出了佛陀的慈祥面孔，其寧靜的表情鼓勵了觀看者對精神的沉思。拍賣結果比較：一件相似24厘米的犍陀罗佛陀头像，髮旋略微不同，售于紐約佳士得Gandharan Buddhist Art from the Collection of a Prince拍场2007年9月20 日，lot 258, 售價USD 29,800.

A SANDSTONE TORSO OF A FOUR-ARMED DEITY, ANGKOR PERIODKhmer Empire, 12th-13th century. Very finely carved with a graceful outline and gently fluted legs, wearing a short sampot incised with parallel pleats and a butterfly tie at the back, and secured with a sash incised with geometric designs and hanging in a double anchor fold at the front.Provenance: LP Collection, Paris.Condition: Good condition, commensurate with age, extensive wear, losses, signs of erosion, nicks, scratches.Weight: 20.0 kg (total)Dimensions: Height 45 cm (excl. base)Mounted on a modern metal base. (2)Expert’s note: Many four-armed male figures from the Angkor Wat period depict the Hindu god Vishnu. Towards the end of the twelfth century, however, images of Lokeshvara and other Buddhist deities began to proliferate in almost stylistically indistinguishable fashion, as King Jayavarman VII (reigned 1181-1218) adopted Mahayana Buddhism as the official state religion, replacing the cult of Vishnu which had predominated the Khmer empire for previous centuries. The identity of this deity hence is almost impossible to discern without its iconographic features which would normally appear on the chignon, or as objects held by one of the missing hands.Literature comparison: The treatment of the sampot with folded-over top is executed with great clarity. In a slightly later example at the Musee Guimet, style of Khleang, additional pleats spring from the fastening at the back of the sampot, anticipating the Baphuon style - see H. Jessup and T. Zephir (editors), Sculpture of Angkor and Ancient Cambodia, Millennium of Glory, 1997, cat. no. 57, p. 239.Auction result comparison: Compare with a closely related torso of slightly larger size (57.5 cm high) at Bonhams Sydney in Asian Art on 4 November 2020, lot 82, sold for AUD 28,060.

A LARGE AND IMPORTANT BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR WAT PERIODKhmer Empire, 12th century. Standing in samapada, holding a lotus bud and a book in his hands, wearing a short pleated sampot, tucked around the belt, the end forming a 'fishtail' at the hem, the serene face with urna, almond-shaped eyes, and full lips, the hair surmounted by a stupa-like ushnisha.Provenance: From an old French-Cambodian collection, acquired in the 1990s.Condition: Areas of minor losses with old fillings, extensive patina with malachite-green encrustations, overall superb condition with wear and casting flaws.Weight: 2,756 g (the figure only)Dimensions: Height 40.5 cm (excl. base and foot pegs) and 43.5 cm (excl. base)The figure is richly adorned in jewelry, including a large circular diadem, a necklace with a central floral motif, armbands, bracelets, anklets, and earrings in the form of lotus buds.With a modern base. (2)Auction result comparison: Compare with a related but smaller figure of a four-armed Avalokiteshvara at Sotheby’s New York in Indian and Southeast Asian Works of Art on 19 March 2008, lot 243, sold for USD 73,000.

A KHMER SANDSTONE FRAGMENT OF TWO NAGAS, BAYON STYLEKhmer Empire, 12th-13th century. This expressively carved and incised fragment was once part of a very large Buddha Muchalinda statue, depicting a naga head with a smaller naga flanking it.Provenance: Belgian private collection. Condition: Good condition commensurate with age, extensive wear, losses, small nicks here and there.Weight: 4.9 kg (incl. stand)Dimensions: Height 30 cm (incl. stand) and 20 cm (excl. stand)In Buddhism the Naga are divine, half-human half-serpent beings that reside in the netherworld (Patala) and can occasionally take human form. They are depicted either as wholly human with snakes on their heads and necks, or as common serpents, or as half-human half-snake beings. A female Naga is called Nagini. Nagaraja is the king of all Nagas and Naginis. Nagas hold considerable cultural significance in the mythological traditions of most Southeast Asian cultures.Mounted on a modern metal stand. (2)Literature comparison: For a large Buddha Muchalinda from the 12th century, missing the top naga head, see Zacke, Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 437.

A KHMER BRONZE FIGURE OF BUDDHA MUCHALINDA, LATE ANGKOR PERIODKhmer Empire, Bayon style, late 12th to early 13th century. Seated in dhyanamudra on the coils of Muchalinda, beneath the seven-headed canopy of the serpent king, wearing a short loincloth around his waist, adorned with elaborate jewelry, a crown surrounding his hair piled high and surmounted by a conical ushnisha, his face with a serene expression, downcast eyes and hands held in his lap holding a stupa.Provenance: Old German private collection.Condition: Some minor fills to the back, otherwise in good condition with wear, some nicks here and there, light scratches, and losses. Fine natural patina with malachite-green and copper-red encrustations.Weight: 703.8 g (the bronze only)Dimensions: Height 19.5 cm (excl. base) and 26.5 cm (excl. base)Mounted on a modern metal base. (2)When a storm raged and torrential rain poured for a whole week, the king of the nagas, Muchalinda, rose from the earth, coiling its body to form a seat and swelling its great hood to shelter Buddha.Expert’s note: Few early examples of this type appear to be recorded. The well-modeled naga hood in later stylistic development dissolves into greater ornamentation. The present piece can therefore be considered as rare.Literature comparison: Compare to an in-situ example of a stone sculpture of Buddha Muchalinda, in M. Freeman and R. Warner, Angkor, The Hidden Glories, 1990, ill. p. 128. Compare also with two other examples in G. Coed/ges, Bronzes Khmers, 1923, plate XXI, figs 1 and 2.Auction result comparison: Compare with a closely related but smaller bronze at Christie’s New York in Indian and Southeast Asian Art including 20th Century Indian on 19 September 2002, lot 193, sold for USD 26,290, and another, though of larger size, at Christie’s New York in Indian and Southeast Asian Art on 20 March 2002, lot 11, sold for USD 94,000.

A THAI BRONZE FIGURE OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Cast standing in samabhanga, the right hand raised in abhaya mudra and the left hand lowered at this side, wearing a long cloak and richly adorned in finely incised jewelry, the face showing a serene expression with downcast eyes under arched eyebrows, flanked by elongated earlobes with earrings. With a modern associated wood base. (2)Provenance: Estate of Joachim Hinz, a collector from Hamburg, Germany.Condition: Overall good condition commensurate with age, extensive wear, small nicks and losses here and there, the feet with old repairs (inspected under strong blue light). Fine malachite-green and copper-red patina.Weight: 1,893 g (the bronze only)Dimensions: Height 43.5 cm (incl. base) and 34.6 cm (excl. base)Auction result comparison: A related bronze of larger size was sold in these rooms in Fine Chinese Works of Art and Buddhist Sculptures on 16 June 2018, lot 113, for EUR 5,688.

A JAIN SANDSTONE HEAD OF A JINAIndia, Rajasthan, 11th – 12th century. Well carved with an ovoid face showing a serene expression with open almond-shaped eyes below elegantly arched eyebrows. The full lips are pursed to form a subtle smile, flanked by long ears, the hair arranged in tight curls surmounted by a floral cap.Provenance: A London private collector, acquired in 1970 from the private collection of the owner of Galerie Demons et Merveilles in Paris, France.Condition: Good condition commensurate with age, extensive wear and losses.Weight: 7.7 kg (excl. base) Dimensions: Height 23 cm (excl. base)Mounted on a modern base. (2)According to the Jain tradition and its doctrine of non-violence, a Jina (also "Conqueror" or Tirthankara) represents the highest stage of a supreme being, of which there are 24 in number. This head can be identified as that of a Jina by the lack of an ushnisha, the domed protuberance on the head that is characteristic of Buddha, while all other features of an enlightened being are shared. A specific iconographic element are the almond-shaped eyes, shaded by the eyelids, with a gaze turned inward, reflecting a heightened mind in perfect equilibrium. According to the iconographic ideals, the hair is arranged in snail-like curls in gently undulating rows, the arched eyebrows follow the curved outline of the margosa leaves, and together with the bridge of the nose, dividing the face into equal parts at 120 degrees, the eyes are like lotus petals, the nose akin to a sesame flower (tilaphula), the lips like the bimba fruit, the elongated earlobes a reference to his former princely life when jewels had weighed them down. Nature is thus sublimated into a rhythmic and sculptural form, emulating spiritual perfection in aesthetic terms.Auction result comparison: Compare with a closely related sandstone Jina head at Christie’s New York in Indian and Southeast Asian Art including 20th Century Indian on 19 September 2002, lot 58, sold for USD 8,962. Compare also with a related but considerably larger as well as later sandstone Jina head at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art on 22 March 2018, lot 1021, sold for USD 22,500.

A ‘NANDI’ HOLY WATER FOUNTAIN SPOUTIndia, probably Karnataka, 16th-18th century. The holy white bull carved with powerful almond-shaped eyes, wide nostrils, large laidback ears, and prominent horns. The mouth with a large opening functioning as the spout.Provenance: A London private collector, acquired from the personal collection of David Aaron, owner of the Aaron Gallery in London. Originally founded in Isfahan, Iran in 1910, the David Aaron Gallery is widely recognized as one of the oldest and most preeminent galleries in the world for important and exquisite antiquities and ancient works of art. The gallery is currently based in Berkeley Square, Mayfair, London. Condition: Good condition with old wear, few nicks and dents, small losses, and natural encrustations as well as other signs of weathering and erosion.With a modern metal stand. (2)Weight: 33.1 kg (excl. stand) Dimensions: Length 62.5 cmThis fountain spout in the form of Nandi is reminiscent of the Sri Dakshinamukha Nandi Tirtha Kalyani Kshetra, a small temple, reported by some as ca. 400 years old, located in front of the Gangamma temple in Northwestern Bangalore. The focal point of this temple is a unique stone Nandi which is positioned facing the Southern direction. There is a continuous stream of water that flows out of the Nandi’s mouth, which is considered holy water. The water falls from the Nandi’s mouth onto a Shivalinga below and from there flows into a stepped tank in the middle of the temple, called a ‘Kalyani’ (temple tank).At some point in its history, the Nandi Tirtha temple fell into disuse and was slowly buried under mud and dirt. As this temple is below the normal ground level of the surrounding area, and there is no Gopuram tower, the entire structure eventually disappeared from view. However, knowledge of the existence of a temple continued to survive in the memory of the people residing in this area. As Malleswaram developed into one of the preferred residential areas of Bangalore, property prices increased significantly. In 1997, there was an attempt to usurp this temple area and sell it off as a vacant plot of land. After protests by the local population, the land in question was dug up and the temple complex gradually emerged from under the mud.The present piece once served a similar function as the one in Nandi Tirtha, probably in another lost temple, where it was removed from the site a long time ago.

A LARGE AND INSCRIBED JAIN WHITE MARBLE FRAGMENT, 12TH-13TH CENTURYIndia, Rajasthan. Composed of three separate elements, deeply carved from pure white marble. The two top elements each with a central goddess flanked by two elephants and two lions above a central dharmachakra flanked by mythical beasts and a lower section incised with Jain inscriptions, the bottom element with a central dharmachakra supported by mythical beasts and flanked by elephants and lions above further inscriptions.Provenance: Belgian private collection. By repute acquired in the Belgian art trade in 1990, and thence by descent in the same family to the present owner.Condition: Excellent condition, commensurate with age, extensive wear, losses, minor nicks and scratches here and there.Weight: ca. 196 kg (excl. base)Dimensions: Height 82 cm (excl. base), Width 72 cm (excl. base)Jainism flourished in Western India between the 10th and 12th centuries, with many temples commissioned under the Solanki and Later Pratihara dynasties. The apex of craftsmanship is embodied in the Dilwara temples, five temples constructed between the 11th and 16th centuries, famous for their masterful, intricate carvings of white marble, on Mount Abu itself. Judging from the fragment’s size, quality of carving, and the pure white quality marble used, it would likely have served as the lower section of a parikara, an ornamental frame surrounding Jina images.With a modern metal base. (4)Auction result comparison: Compare with a related Jain marble base of much smaller size (50.8 cm wide), of arguably lesser quality, at Christie’s New York in Indian and South East Asian Art on 21 March 2007, lot 264, sold for USD 24,000.

A SANDSTONE STELE OF GANESHACentral India, 11th century. The six-armed elephant-headed god dancing with his arms radiating, holding a bowl of sweets in one hand from which he is sampling with his curled trunk.Provenance: Galerie Demons et Merveilles, Paris, France, 1970s. A London private collector, acquired from the above.Condition: Good condition commensurate with age, extensive wear and losses, signs of weathering and associated erosion.Weight: 13.3 kg (total)Dimensions: Height 37.5 cm (excl. base)Mounted on a modern metal base. (2)Literature comparison: Compare to a closely related stele sold at Sotheby's, New York, 1 December 1993, lot 99, and another sold at Sotheby's, London, 23 November 1987, lot 234.Auction result comparison: Compare with a closely related stele, 55 cm, at Bonhams San Francisco in Chinese, Indian and Himalayan Works of Art, on 10 December 2015, lot 8035, sold for USD 31,250.

AN INDIAN GILT BRONZE HEAD OF DURGAIndia, 17th century or earlier. Massively cast, the face showing a fierce expression with furrowed brows above almond-shaped eyes, a hooked nose, and full lips, flanked by large ears, the hair arranged in a flat circular topknot. Mounted to a modern wood base.Provenance: Peter Sloane Early and Eastern Art, 18 May 2012. The late Richard Nathanson, acquired from the above. Richard Nathanson began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir and Bonnard. He produced BBC documentaries and publications on several of these artists.Condition: Good original condition commensurate with age. Extensive wear, dents, cracks, small losses, traces of pigment, wear to gilt.Weight: 1,432 g (incl. base) Dimensions: Height 18.5 cm (incl. base) and 9.5 cm (excl. base)

AN IMPORTANT SANDSTONE FIGURE OF GANESHAIndia, Madhya Pradesh, 10th century. The six-armed elephant-headed god dancing with two legs bent on a rectangular plinth, wearing anklets, arm bangles and a tiara with strands of pearls. His expressive face with gentle eyes and ears fanning open, flanked by musicians, dancers, and animals inside niches, with four vidyadharas bearing garlands above, the torana centered by a lotus finial.Provenance: Arnold H. Lieberman Buddhist & Hindu Antiquities, New York, 4 April 2006. Peter Hardt, Germany, acquired from the above. Arnold Lieberman, known as ‘The Grumpy Connoisseur’, has been a fine art and antique dealer since the early 1970s and was on the board of directors of The Art and Antique Dealers League of America for ten years. A copy of the original invoice, at a price of USD 38,000 and describing the piece as “One Stone Dancing Ganesh” and “India, Madhya Pradesh, c. 10th century” accompanies this lot.Condition: Superb condition commensurate with age, extensive wear and losses, signs of weathering and associated erosion.Dimensions: Height 81.5 cm (excl. base)This masterfully carved Ganesha embodies the energy of present devotion imbued with the authority of the past. His supple body, slender waistline, delicate jewelry, graceful face, and ten arms, together with the elongated proportions and lyrical bends of the accompanying figures, situates the sculpture firmly in the tenth century, when stone carving had reached a superb level of mastery in northern and central India. During this period, artists made use of the soft local sandstone to create agile figures that belie the heaviness of the material.Working from single blocks of stone, they realized glorious deities surrounded by mythical animals and members of the celestial supporting cast, all carved in deep relief with portions of the stone pierced entirely through, adding negative space to enhance the form. The liveliness of Ganesha's dance similarly belies not only the material but also his corpulent stature. His dance connects him with Shiva, who dances the universe into oblivion, yet Ganesha's dance has a childlike quality that lightens Shiva's cosmic load. Energetically dancing to the classical rhythms of drums and cymbals and the melody of flutes resounding from the gracious musicians at his feet, he carries away all obstacles and grants those who behold him the ability to achieve success.Ganesha, the beloved elephant-headed god of prosperity and remover of obstacles, is worshipped throughout India at the beginning of journeys or undertaking of new endeavors. As such, he is often placed at thresholds or entries in private homes, and he is the first deity encountered even in massive, multi-sanctum temple complexes, where he is worshipped with offerings of sweets, fruits, coins, flowers, and freshly cut grass. He is a symbol of abundance, and he is also a paragon of wisdom, having broken off his own tusk and recorded the Mahabharata at the time of its recitation by the great sage Vyasa. Although he is the son of Shiva and Parvati, Ganesha is honored by all devotees and is the most popular god in modern India.Mounted on a modern metal base. (2)Literature comparison: Compare with a related sandstone figure from the 10th century in the Boston Museum of Fine Arts, published in Darielle Mason, Gods, Guardians, and Lovers, New York, 1993, p. 168, cat. no. 17.Auction result comparison: Compare with a closely related sandstone figure of Ganesha, 111 cm high, at Christie’s in The India Sale on 15 December 2015, lot 119, sold for EUR 98,010 (INR 8,625.000).

AN INDIAN MINIATURE PAINTING OF KRISHNA AND RADHAIndia, Kangra, early 19th century. Watercolors and gilt on paper, framed behind glass. Krishna and Radha seated on a large pillow and sharing a romantic moment, holding hands and gently caressing each other, two small vessels on the ground beside them.Provenance: Property of Marchioness of Dufferin and Ava and thence by direct descent. Serena Belinda Rosemary Hamilton-Temple-Blackwood, Marchioness of Dufferin and Ava, better known as Lindy Guinness, was a British artist, conservationist, and businesswoman, operating an art gallery in London for many years.Condition: Good condition with minor wear, some creasing and soiling mostly around edges.Dimensions: Size incl. frame 27.5 x 23 cm, Image size 19.5 x 14 cmThe European gilt wood frame is from the 20th century.Auction result comparison: Compare with a related miniature painting at Christie’s New York in Indian and Southeast Asian Art on 14 September 2010, lot 193, sold for USD 10,000, and another at Sotheby’s New York in Indian Art Including Miniatures and Modern Paintings on 22 March 2007, lot 166, sold for USD 9,000.

‘LADY PLAYING THE SAUNG’ BY U LUN GYWE (BORN 1930)Oil on canvas. An early work by perhaps the greatest living Burmese painter. Finely painted with a young lady richly adorned in beaded jewelry and wearing fine colorful garments, kneeling on the ground, and playing the saung (Burmese harp) with a cheerful yet focused expression. Framed.Provenance: Collection of Ludvík Doležal, acquired in Burma during his stay there as an attache between 1970 and 1973, and thence by descent in the same family.Condition: Excellent condition with minor wear.Dimensions: Size incl. frame ca. 62 x 53 cm, Image size 46.5 x 38.5 cmLun Gywe (born 1930) is a Burmese painter who works in oil and watercolor. Outside of Myanmar his work has been exhibited, often in solo shows, in Japan, Korea, China, Australia, the USA and Singapore. He studied under Thet Win and graduated from the Art Institute of Teacher's Training in 1954. He was an instructor at the School of Fine Arts, Yangon, between 1958 and 1979, and principal of the same school from 1977 to 1979. He began painting in a realistic vein, influenced by the major painters of the Rangoon School, Ba Nyan and Thein Han, who was his painting master. Over time, his work became more expressive and today some of it might even be seen as expressionist.Auction result comparison: Compare with a later work by the same artist, depicting a dancing lady, dated 1999, at Sotheby’s Hong Kong in Modern and Contemporary Southeast Asian Art on 6 October 2019, lot 316, sold for HKD 85,000."A noted collector of the work of U LUN GYWE has advised us that the present painting could also be from the hand of U CHIT SWE, who is about 10 years younger than U LUN GYWE. It is therefore sold as the work of either one of these two artists."

A LARGE WOODEN ‘COBRA’ MASK, 19TH CENTURYSri Lanka. The grotesque face painted in various pigments and carved with a projecting tongue in the pierced jaw with threatening teeth, large bulging eyes, the broad nose with flared nostrils. Surmounted by a looming cobra with three entwined cobras below and two further cobras flanking the mask, a cobra tail emanating from each nostril.Provenance: Collection of the Umlauff Museum, Hamburg, 1990 (old label attached to back). German private collection, acquired from the above. Johann Umlauff, a brother-in-law of Carl Hagenbeck, the creator of the modern zoo, owned a German ethnographic and artifact firm that was established in 1868 and flourished for more than a century, closing not until 1974. His son Heinrich collected artifacts from around the world and opened a museum in 1884. In the early 20th century, Heinrich provided costumes and structures for the German film industry to lend an ‘exotic’ touch to film sets, as was popular at the time.Condition: Good condition with wear, loss of pigment, natural age cracks, minor chips here and there.Weight: 2,998 g (incl. base)Dimensions: Height 74 cm (incl. base) and 59 cm (excl. base)Mounted on a modern base. (2)Auction result comparison: Compare with a related mask of smaller size, also with an Umlauff Museum provenance, at Christie’s New York in African and Oceanic Art: The Robert and Jean Shoenberg Collection on 14 November 2008, lot 62, sold for USD 3,250.

Juan González (Actif at second half of 17th Centtury in New Spain) "Enconchado". Oil on wood panel inlaid with mother-of-pearl. Signed and dated 1698. 43 x 59 cm. Within a frame in the lower margin is the number "X" and the motto "praeceptum non domum non agrum". As Dr. Joaquín Bérchez notes in his magnificent biographical file for the Museo del Prado on the González brothers: they were two painters who were active in New Spain in the mid 17th century, specialising in the painting of “enconchado” - pictures “stuffed with mother of pearl and helped with colours, as Antonio Ponz defined it in the 18th century-, Miguel and Juan González took a lead role in one of the most singular chapters of New Spanish art in the Modern Period. They were exact contemporaries of Cristóbal de Villalpando, Juan Correa and the Arellanos. The shell inlay technique, which came originally from the Far East, became known early on in the Viceroyalty of New Spain due to the presence of artisans and objects from China and Japan, growing into artistic maturity in the New Hispanic environment in the last decades of the 17th century and the first of the 18th.… As had occurred with the feathered pictures, Mexican lacquers, maize cane sculptures and room dividing screens, the “enconchados” became prized objets d’art, sought and collected by a wide public and clientele, both in New Spain and in the Iberian Peninsula. Miguel and Juan González, together or separately, are linked to more than a hundred works of art, of which the twenty-five panels depicting scenes of the conquest of Mexico, kept in the Museo de América in Madrid, dated 1698 and signed ¬[Miguel Gonzes fesi a 1698 (panel 9) (Juan) Gonz. Fecci 1698 (panel 24)], have come to be one of their most representative samples."

Female strangler.- Modern propensities; or, an essay on the art of strangling...With Memoirs of Susannah Hill, and a summary of her trial at the Old-Bailey, on Friday, September 16, 1791, on the charge of hanging Francis Kotzwarra, At her Lodgings in Vine Street, on September 2, lacking frontispiece, Printed for the author; and sold by J. Dawson, [?1791] bound with Towers (Joseph) Thoughts on the commencement of a new parliament. With an appendix, containing remarks on the letter of the Right Hon. Edmund Burke, on the revolution in France, half-title, final advertisement f., Printed for Charles Dilly, 1790 and 2 other defective 18th century works, together 4 works in 1 vol., occasional spotting and light staining, contemporary half calf, head of spine little worn, rubbed, 8vo ⁂ The first mentioned is rare, with ESTC recording only two copies (BL and Yale).

NO RESERVE Chinese art.- Kao (Mayching) Modern Chinese Painting and Calligraphy from the Collection of the Kau Chi Society of Chinese Art, colour plates, original boards, some light surface soiling, slip-case, light discoloration and light wear to extremities, folio, Hong Kong, 1987.

NO RESERVE Good (John) The Art of shadows: or, universal dialling, third edition, 11 folding engraved plates, trimmed at head, just touching headlines or page numbers, occasional spotting, a few stains, lightly browned throughout, contemporary ink inscription to title 'James Milbourn', label of Erwin Tomash, contemporary sheep, lower cover detached, modern leather label to spine, [Tomash & Williams G60], Printed and sold by Thomas Page, and William Mount, 1721 § Sauri (l'Abbé) Institutions Mathématiques, 5 folding engraved plates, a few ff. with pencil markings, occasional spotting, lightly browned throughout, contemporary calf, rather worn, but holding firm, Paris, Chez Valade, 1770; and 7 others, Mathematics & Science, v.s. (9)

Collection of art glass including a Murano shaped square dish, a red and amber tint mallet shaped vase, a two colour basket, indistinctly signed, two modern paperweights etc (12)

John Rennie : I Have Been Fishing, a volume, hard-backed without dust jacket, 272 pages, published by Seeley Service & Co, Ltd, London, together with nine further volumes relating in the main to fishing - Fly Tying for Trout by Eric Taverner, The Art and Craft of Loch Fishing by H. P. Henzell, The Wayfaring Tree by "B.B.", Loch Fishing in Theory and Practice by R. C. Bridgett, British Anglers' Natural History by E. G. Boulenger, The Fisherman's Companion edited by Kenneth Mansfield, Lake and Loch Fishing for Trout (Memoirs of a Fly-Fisherman) by Joscelyn Lane, Modern Trout Fishing by W. Carter Platts and Sporting Pageant (A Gun, a Rifle, and an Aeroplane) by Terence Horsley. (10)

GEORGE KARS (Czech, 1882-1945)Nude signed 'Kars' (lower left)oil on canvas50 x 65cm (19 11/16 x 25 9/16in).Painted c. 1927Footnotes:ProvenanceCollection Paquereau, Paris, 1927.ExhibitedJewish Artists of the School of Paris, Artcurial Vienna - Artcurial Brussels - Artcurial Paris, 2015.Granville, Museum of Modern Art Richard Anacréon, 2016.LiteratureGeorges Kars. 1880-1945, catalogue Galerie Jean Tiroche, Jaffa, 29th April - 15th May 1967, p. 3.Jewish Artists of the School of Paris 1905-1939, Somogy Éditions d'Art, Paris 2015, p. 172.Brigitte Richart, catalogue Belles de Nuit, Museum of Modern Art Richard Anacréon Edition, Granville, 2016, p. 68.This work will be included in the artist's catalogue raisonné.Georges Kars was born to a German Jewish family in the Prague region. In 1899, he studied in Munich with Franz von Stuck and became friends with Pascin and Paul Klee. From 1905, he travelled to Madrid where he met Juan Gris and immersed himself in the paintings of Veslasquez and Goya. In 1908, he moved to Paris and met Chagall, Apollinaire, Max Jacob, Maurice Raynal and Demetrius Galanis. During World War I, he stayed in Belgium with Pascin. Under the influence of the Cubism movement in Paris, his shapes became simpler; however, he remained deeply attached to realism. According to him, 'art does not lie in an elaborate technique but within the soul'. He produced figurative paintings and used several techniques and materials including Indian ink, watercolor, and pastels.During World War II, he took refuge in Lyon and went later into exile in Switzerland. In 1945, as he could not stand the horrifying tragedy that hit the Jewish community, he committed suicide by jumping out of the fifth floor of his hotel. His studio was sold at auction on June 17, 1966 at the Palais Galliera. In 1983, a retrospective of 120 paintings was held at the modern art museum in Troyes.In Nude, the atmosphere and treatment of the subject is reminiscent of the work of Edgar Degas, Henri de Toulouse-Lautrec and Suzanne Valadon. Transcription of the preface by Valadon published in the catalogue of Kars exhibition at the Galerie B. Weill, Comoedia, February 6, 1931, (p. 3) : « Mon cher Kars, J'ai présent à la mémoire ce que je viens de voir dans votre atelier et que vous allez exposer chez Berthe Weill. Écrire n'est pas mon fait ; j'exprime mal l'émotion admirative que j'ai eue devant vos œuvres ». ('My dear Kars, the work that I witnessed in your studio and that you will exhibit at Berthe Weill is still fresh in my memory. Writing is not my thing; I cannot express enough my admiration for your works').For further information on this lot please visit Bonhams.com

István Farkas (Hungarian, 1887-1947)Rèverie signed (on verso)gouachelargest: 22 x 35.4cm (8 11/16 x 13 15/16in).(3 works mounted as one) Painted in 1925Footnotes:LiteratureJewish Artists of the school of Paris 1905-1939, Somogy Éditions d'Art, Paris, 2015, p. 113.Istvan Farkas was the son of Josef Wolfner, the co- owner of Singer and Wolfner publishing company. After his studies at the Kern Academy in Munich he moved to Paris and attended the Académie de la Palette until the breakout of World War I.From 1915 to 1919, after being forced to return to Hungary, Farkas served on the Russian, Italian, and Serbian fronts.In 1924 he decided to return to Paris and befriended the pioneers of modern architecture Le Corbusier and Auguste Perret, and also spent time with Picasso's circle of friends: Jean Cocteau, Max Jacob, and Apollinaire. André Salmon asked him to illustrate his collection of poetry Correspondances, which was published in 1930. When Farkas's father died in 1932, he decided to return to Budapest and take over his company. Despite his new career he did not abandon his art and participated in several exhibitions in Paris, Budapest and Venice. In the mid-1980s Farkas's work was gradually rediscovered by the art community outside Hungary. Since then, he has been the subject of many exhibitions including solo exhibitions in Rome, New York and Amsterdam.For further information on this lot please visit Bonhams.com

Dafforne (James) Modern Art, A Series of Line Engravings from the Works of Distinguished Painters .. Selected from Galleries and Private Collections in Great Britain. lg. atlas folio L. (Virtue & Co.) n.d. red & bl. title, & 56 full page engd. plts. (ex. 60), a.e.g., full heavy hf. crimson mor., as is, w.a.f. (1)